Category Archives: South

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

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

 

 

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

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

 

 

 

Performance, 1921-1947, South

Birth of 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 Radhika Mohan Maitra, Dhruva Tara Joshi, train, Shakh, Sadiq Ali Khan, Surshringar, Lucknow, Veena, Chakraberia, Bhowanipur, 56 Chakraberia Road, Surshringar, Veen, Mohan Veena, 1943, Gopal Sharma, Kanailal, Rajab Ali Khan,
Language Bengali

Somjit Dasgupta speaks :

 

Verbatim:

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

                   Pt. Dhrubatara Joshi

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

??? ?????

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

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

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

                        Ustad Sadiq Ali Khan

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

Verbatim: Dr. Suranjita Paul

Paraphrased in English

 

This is a story about how Pandit Radhika Mohan Moitra, the eminent maestro, created the Mohan Veena. Looking at the time frame I take it that he was at the  second phase of musical career. After demise of his Guru Radhika Mohan became very busy with his music concerts. One could see his personal Salon Train waiting at the tourist platform of different states. During this phase he visited different Royal Courts of Lucknow, Alwar, Rampur, Jaipur, Kolhapur, Ahmadabad and others.

Meanwhile, Dhruva Tara Joshi, the great musician of Agra Gharana was on All India Radio, Lucknow.  He was working on Sakh group of ragas i.e. Deo-Sakh, Laccha Sakh, Bhav Shah and Shakh with four different artists. Among these four Sakhs, one was performed by the legendary Ustad Sadik Ali Khan in Veena. Radhika Mohan Moitra with his Sursringer was very popular and regular on Baithaks. On hearing him in a Baithak, Sadik Ali conveyed his interest to perform with Moitraji. Dhruba Tara Joshi liked the idea and decided to organise a jugalbandi of Veena and Sursringer.  The performance happened twice; one in All India Radio as the continuation of that programme and other one at Joshiji’s Lucknow residence. Great musicians throughout India came to attend that extraordinary Jugalbandi. They appreciated the effort that Dhruba Tara Joshi had taken and also very keenly suggested another programme to be performed in Kolkata at a very large scale. They asked for Pathuriyaghata Rajbari or the Shobha Bazar Rajbari of Raja Nabakrishna Deb. But it was finally happened at 56 Cakraberiya Road at the maternal house of Radhika Mohan Moitra. It was a very simple Baithak. Radhu Babu expressed his enormous happiness after the concert, personally to Joshiji.

Pt. Radhika Mohan Maitra with his Mohan Veena

Radhika Mohan Moitra, after the third duet recital with Sadiq Ali, somewhere felt the need of an instrument where he could get a deeper tone like Sursringer and Veena with faster fingering style like Sarod. It was 1943. He came up with an idea and design and handed it to Gopal Sharma. This was how Mohan Veena was born. The measurement of Mohan Veena remained the same as his Sarod. He added a small bridge, a type of bridge that was in common use for sitar Tarab strings. The shop of Gopal Sharma, the instrument maker, was on the opposite of RabindraBharati University. Radhu Babu often visited his shop during the instrument making. Next to Sharmaji’s shop, there was famous Kanai Lal& Sons. Stalwart musicians of that era, Ustad Sadiq Ali Khan, Ustad Rajab Ali Khan, Ustad Enayet Khan were the regular visitors of that shop.

 

Paraphrased by Dr. Suranjita Paul, Research Fellow

Picture Courtesy: Google

http://oriental-traditional-music.blogspot.com/2012/11/older-masters-of-rudra-veena-been-part_15.html

https://www.facebook.com/Pt-Dhrubatara-Joshi-221380321255798/

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

 

Edited & Designed: Dr.Suranjita Paul

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

 

Teaching-Learning, South

Learning with different musicians: Anindya Banerjee speaks

Told by Anindya Banerjee
Obtained by Sukanya Sarkar
Date 14 July, 2015
Place Residence of Anindya Banerjee, 50/1A,Purna Das Road, Kolkata
About Anindya Banerjee Disciple of Ustd.Ali Akbar Khan, Ustd. Dhyanesh Khan and other gurus. He plays Sarod and Surshringar. He is a well-known writer on Indian Music with several publications to his credit.
Tags Ali Akbar Khan, Ali Akbar College of Music, 1968, Dhyanesh Ghan, Nikhil Banerjee, Lake Market area, South Calcutta, Annapurna Devi, ang, vocal music, dhamar, tarana, practicing,
Language English
Performance, South, 1961-1974

Ustd. Hafiz Ali Khan: A Longer Piece

Told by Subrata Roy Chaudhury
Obtained by Sanjoy Bandopadhyay
Date 14 December 2014
Place At Kolkata residence of Pt. Subrata Roy Chaudhury 6, Canal Street, Kolkata 700014
About Subrata Roy Chaudhury Well-known sitar player, scholar
Key words 1961, Hafiz Ali Khan, Khoka Maharaj, Birendra Kishore Roy Chaudhury, sarod, Amjad Ali Khan, Bageshree, southern Kolkata, Kesarbai Kerkar, Ahmedjan Thirakwa, Dover Lane, Alla Rakha.
Language English

 Subrata Roy Chaudhury speaks:

Verbatim :

In the year 1961, that was my first waking up all night, and not staying at home all night. In 1961 I was eighteen years old, I was born in 1943 and I think in our conservative household, I wouldn’t say conservative, because we were quite liberal but staying out for the night was out of the question. They were all angry with me but this was my first staying out, and I didn’t have money as a student to buy the ticket, Birendra Krishna Roy Chaudhury told me you wear the volunteer’s batch and attend the concert. Help the people to sit and chase and you get a free ticket and you can hear all the maestros.

Ustad Hafiz Ali Khan

I remember he purposely told me to focus your attention to Ustad Hafiz Ali Khan Sahab.  He rarely gives concerts and doesn’t play for more than five seven minutes. But we shall compel him to play more, and Birendra Kishore Roy Chaudhury whom Hafiz Ali Khan Sahab fondly call ‘khoka maharaj’ told  him that you’ll have to play and he said “yes yes yes, I  would play Bageshree” . I remember that since it was Birendra Kishore Roy Chaudhury’s conference, Hafif Ali Khan Sahab sat on the stage, tuned a sarod, Amjad Ali Khan Sahab sat beside, and I was playing the Tanpura probably, because I forgot about it, but recently I saw something few days ago,  Hafif Ali Khan Sahab’s documentary with Amjad Ali Khan Sahab and I found my picture playing Tanpura, with the father and the son and Hafiz Ali khan Sahab first said that “I am playing on the request of Khoka Maharaj, and khoka Maharaj was such a knowledgeable person, that many great ustads came to teach him, but actually didn’t teach him but learnt from him. By various questions and answers they actually learnt  acchyubh Ragas, unknown ragas from him.

  • Where was the concert?
  • This was 1969, I don’t remember, mysore hall or some big place, kalamandir was not there, Rabindra Sadan was not there, so concerts were usually held on Cinema Halls, Basishree, or Bhawani or Indira . But this was held in a small budget hall because..
  • In southern part of Calcutta?
  • It was near the lakes. Kalighat or Lake, Mysore Hall I think. Mysore Hall It had almost six hundred chairs. And I remember that Hafiz Ali Khan said this that khoka Maharaj was the fountain of knowledge, even his  ustads  in the pretext of  teaching they learnt from him and began his beautiful Bageshree. He played twenty minutes of Bageshree, which he usually never played at that time and he played alone and the Gat started and Amjad Ali Khan took over.  Kesarbai at this time got up and said ‘ Janab Main to apko sunne aya, aapka beta kiun baja raha hay, main to concert mein nehi jati hun, mainto aap hi ko sunne aya”( Janab I have come to listen to you, why your son is taking over, I usually do not attend any concerts, but I have made this effort to listen to you)
kesarbai Kerkar

But Hafiz Ali Khan Sahab immediately replied – “ key yeh to main hi hoon” ( This is me and nothing but me). Then kesarbai said no we would like to like to listen to you. Then Thirakwa sahib stood up and said I also came to listen to you , “ Main bhi aaphi ko sunne aya, aap bajaiye’. So Hafiz Ali Khan Sahab looked at Thirakwa Khan Sahab and winked and said  – “ Arey main to bajaunga “ ( I will most definitely play.) is you come to stage and play table with me. And Thirakwa sahib immediately went back stage and told the secretary that if I get my item money I will play. I will go and adjusting my budget that is not possible, and then Amjad Ali Khan Sahab took over and played. He was born on 1945 o in 1961 he was just sixteen years old. But what brilliance, ‘Ekhara Taan”  and brilliant Sarod, sparkling Sarod, and that was time when he became famous. He was immediately booked for Dover Lane and once later where he played with Ustad Alla Rakha Khan and created a sensation. All pretty girls were there looking out for him to sign their autographs because such handsome musician is very rarely seen on the stage playing classical instruments.

  • Wonderful, Thank You.

Verbatim by : Rajeswary Ganguly Banerjee

Picture Courtesy: Google  

http://swaratala.blogspot.com/2015/08/ustad-hafiz-ali-khan-last-interview.html

Kesarbai Kerkar

 

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

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

 

 

Instrument Making, South, 1961-1974

Jon Barlow’s Efforts on Instrument Making

Told by Jon Barlow
Obtained by Sanjoy Bandopadhyay
Date 14 December 2014
Place At Kolkata residence of Jon Barlow 91/1B Bondel Road, Kolkata 700019 [Ballygunge Phari]
About Jon Barlow A man in pursuit of Indian Classical Music for more than fifty years. Learnt sarod, vocal music, music collector, music craftsman, photographer, artist, music theorist.
Tags Ali Akbar Khan, 1963, Sydney, Maihar, David, Chandni Chowk, Delhi, 1971, Radhika Mohan Maitra, sarod, Umar Khan, Kalighat, Burma Teak, Siddhartha Roy Choudhury, Tun, Picnic Garden Road, Tanpura, Box-Tanpura, Imrat Khan, Nibruttibua Sarnaik, V.G. Jog, Dilshad Khan, Bablu, Hemen Sen, craftsmanship, Manas Chakraborty, instrument making
Language English

 Jon Barlow speaks

South, 1975-2000, Others

Turtle Meat

Told by Samir Chatterjee
Obtained by Sanjoy Bandopadhyay
Date 29 December 2014
Place At Kolkata residence of Samir Chatterjee, 15A Gobinda Mondal Lane, Cossipur, Kolkata
About Samir Chatterjee Eminent tabla player, thinker. To know the details click here
Tags Radhika Mohan Maitra, Dhruva Tara Joshi, D.T. Joshi, Jadavpur, recommendation, Buddhadev Dasgupta, Turtle meat.
Language English

Samir Chatterjee speaks:

 

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

Keeping Track

Told by Samir Chatterjee
Obtained by Sanjoy Bandopadhyay
Date 29 December 2014
Place At Kolkata residence of Samir Chatterjee, 15A Gobinda Mondal Lane, Cossipur, Kolkata
About Samir Chatterjee Eminent tabla player, thinker. To know details click here
Tags Tansen Music Conference, 1970’s, Soumitra Lahiri, discount ticket, Manilal Nag, Sailen Banerjee, Bismillah Khan, Shehnai, Kanai Dutta, Tabla, booing, Bhutan
Language English

Samir Chatterjee speaks:

 

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