Category Archives: Patronisation

Patronisation, Central, 1975-2000

Remembering the ‘Aritra’: A Baithak Space of significance

Told by Dr. Rajeeb Chakraborty
Obtained by Sukanya Sarkar
Date 11 July, 2014
Place Kolkata residence of Dr. Rajib Chakraborty, Swinhoe Street, Kolkata 700019
About Dr. Rajeeb Chakraborty Dr. Rajeeb Chakraborty is a renowned sarod player, a music composer, and also involved in a large number of experimental projects internationally. He received several awards for his experimental work in music.
Tags Aritra, Prasun Banerjee, 1980’s, Kolkata. Bishop Leffroy Road,
Language Bengali

Dr. Rajeeb Chakraborty speaks :

Verbatim:

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

Music Room of an Old Mansion of Kolkata

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Verbatim: Rajeswary Ganguly Banerjee   

 Translation:

During such a time, Borda Kaku, that is Prasun Banerjee, Pratyush’s father, started an organisation called Aritra in a large British-era house on Bishop Lefroy Road. The hall was a hundred feet in length and forty feet in breadth. Private music programmes were held in Aritra for fifteen years – at least once or twice a month. I don’t think I have missed a single programme at Aritra if I was in Kolkata at the time. We were always eager to go to such places, we wanted to perform, but weren’t getting the chance, it became a meeting place with friends. We would go there to vicariously satisfy our desire to be associated with music. But actually we couldn’t do anything, I can’t do anything even now, but Aritra occupies a special place in my youth. Those performances, that atmosphere of music held a special place for me.

Translation: Sarbajaya Bhattacharya

Picture Courtesy:  Google     

   https://www.google.co.in/search?client=firefox-b&dcr=0&biw=1366&bih=631&tbm=isch&sa=1&ei=bZPUWvuHD4PavgS2uIegAg&q=chandelier+at+old+houses+kolkata&oq=chandelier+at+old+houses+kolkata&gs_l=psy-ab.3…8470.10630.0.11030.8.8.0.0.0.0.144.936.0j7.7.0….0…1c.1.64.psy-ab..1.0.0….0.Bc0YwDQpTBs#imgdii=5opV5ehlWjwANM:&imgrc=t30f864CQIlHBM:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

 

 

Performance, Patronisation, North, South, 1961-1974

Space scarcity and venue change – Pt. Ravi Shankar

Told by Maharaj Banerjee
Obtained by Sanjoy Bandopadhyay and Dilip Mukherjee
Date 05 July, 2015
Place Sati Sadan, 41, Harish Mukherjee Road, Bhowanipur, Kolkata 700025
About Maharaj Banerjee Son and disciple of Pt. Montu Banerjee [Tabla, Sarod, Harmonium]. Disciple of Pt. Muneshwar Dayal [Harmonium], Ustd. Ahmedjan Thirakawa. [Tabla].
Tags Jnan Prakash Ghosh, 1964-65, Ravi Shankar, Sati Sadan, space scarcity, venue
Language Bengali

Maharaj Banerjee speaks :

Patronisation, Kolkata, Others, 1975-2000

Efforts to Create concert Opportunities

Told by Prattyush Banerjee
Obtained by Sukanya Sarkar
Date 01 March, 2015
Place 18 Sadananda Road, Kalighat, Kolkata, Prattyush Banerjee’s residence
On Prttyush Banerjee Prattysh Banerjee is an accomplished sarod player. He is one of the foremost disciples of Padmabhushan Pt. Buddhadev Dasgupta.
Key-words Concert, opportunity, strategy, efforts
Language Bengali

Prattyush Banerjee speaks:

 

Patronisation, South, Central, 1975-2000

Remembering Baithaki Concerts around 1980’s

Told by Prattyush Banerjee
Obtained by Sukanya Sarkar
Date 01 March, 2015
Place 18 Sadananda Road, Kalighat, Kolkata, Prattyush Banerjee’s residence
On Prttyush Banerjee Prattysh Banerjee is an accomplished sarod player. He is one of the foremost disciples of Padmabhushan Pt. Buddhadev Dasgupta.
Key-words 1980, 1982, 1990, music circle, Sangeetam, Surchhandam, Bhowanipur Sangeet Sammilani, Aritra Music Circle
Language Bengali

Prattyush Banerjee speaks:

 

Verbatim:

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

A House Concert of Present Day at Kolkata

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

  • ???? ???? ????????????
  • ???? ??????????? ??? ?? ?????? ??? ??? ????? ?? ?? ?????, ?? ???? ?????? ????? …
  • ?????
  • ??????????? ??? ????? ?????????? ??? ??????? ?????? ?????? ???? ??? ?? ???? ??? ??? ?????? ?????? ?????? ???? ?????? ???? ?????????? ????? ???? ??? ????? ????? ??????? ???

Verbatim: Rajeswary Ganguly Banerjee

 

Translation:

Speaking of informal, family-oriented events, I must say that in my childhood, around 1980, 82, 85 or 90, just like the way we had “Aritra Music Circle, similarly, there were several other such music circles active all over Kolkata. One prominent music circle was the “Sangitam Music Circle”, and another was named as the “Surchandam Music Circle”. What used to happen was that, apart from well-known musicians, the aspiring artists would also perform in musical circles like these in order to create an identity for themselves. The least I can say that, although I have no credit in it, the artists who performed in my father’s music circle are some of the most famous ones in the industry today. Some of their earliest performances took place in our home and in other music circles such as these that I mentioned. Now, music-friendly spaces like these have reduced in number.

  • You mean his contribution?
  • His contribution and the time-period I’m talking about. That decade had
  • 1970s?

Seventies and early Eighties. That trend of music-friendly spaces no longer exists in our city. As a result, we have plenty of artists, but nowhere for them to perform.

Translation by: Ankana Das

Picture Courtesy: Google  

   https://www.google.co.in/search?client=firefox-b-ab&dcr=0&biw=1366&bih=631&tbm=isch&sa=1&ei=S8fVWuLjC4jjvgSAnKmIBQ&q=bhawanipur+sangeet+sanmelani&oq=bhawanipur+sangeet+sanmelani&gs_l=psy-ab.3…20548.20548.0.21076.1.1.0.0.0.0.134.134.0j1.1.0….0…1c.1.64.psy-ab..0.0.0….0.O-6z8DFSfXw#imgrc=u-_S_-Au_Xx1QM:

 

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

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

 

 

 

 

 

North, Patronisation, Performance, 1948-1960

Ustad Amir Khan’s Introductory Concert in Calcutta

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 Amir Khan, Jhankar, Pradyumna Mukherjee, Purabi Mukherjee, A. Kanan, Vasant Bahar, Ramdasi Malhar, Dixon Lane, 1950’s
Language English

Subrata Roy Chaudhury speaks:

Text Version:

As for example,  Amir Khan Sahib’s introductory concert. It is said that Amir Khan Sahib used to visit Jnan babu every day. Every day because he didn’t get a chance to perform and one day Amir Khan Sahib decided to leave Calcutta. He had problem in Vilayat Khan’s household because there would be a divorce between Vilayat Khan’s sister and Amir Khan Sahib, they were married. And then Amir Khan Sahib to get out of Calcutta was accumulating money.  He only gave tutorial to two or three. Pradyumna Mukherjee, he taught, he taught Purabi Mukherjee and someone else.  And he used to save this money every time so that he could go to Bombay. And one day decided – I will leave for Bombay. So he went to Jnan babu. This was told to me by A. Kananji who also Amir Khan’s oldest disciple. So he went to Jnanbabu and said- ‘Jnan babu, apke Ghar aate aate to mera chappal tut gaya. Ab to mujhe gawaiye conference main’ .(Jnanbabu, literally I torned my chappals after visiting your house regularly. Please give me a chance to perform in a conference). Jnanbabu said – Ha ha, yeh to karna hi padega’ (yes yes, of course this is surely needed to be arranged.) ab kab ja rahe hai? (When are you going?).

                Ustad Amir Khan in a concert

 

–  So did the concert happen in Jhankar?

 

(He) Make shift within fifteen days one concert was arranged. And Amir Khan Sahib…I have that recording, not here but abroad.  I got hold of that recording, Vasant Bahar. People didn’t hear Amir Khan in concert normally. Vasant Bahar and a brilliant Ramdasi Malhar, that was his introductory concert then he went to Bombay and then he signed for Baiju Bawra after which he never looked back, he became over night famous.

           Pt. Jnan Prakash Ghosh

–  Yes, in Dixon Lane, 20 or 25 Dixon Lane. I don’t remember the number but after Prachi Cinema I have to go into Dixon Lane, the first house with a gate.

–  So what would be the period, what time and in which year?

– I went to Jhankar regularly when I started learning Sitar 56, 57, 58.

– Then it should be 50’s.

– Yes, then of course then it shifted from Jnanbabu’s house. It became much smaller. Mukul Chakraborty looked after it some time. And I played there also in 1978 or something.

– I just wanted to know that in this Amir Khan Sahib’s Concert that Jnan Babu arranged didn’t happened around 1950s?

– You can find out two years before Baiju Bawra.

– Ok. Good good. That’s sorted out. It’s Wonderful.  Thank you very much.

Verbatim: Dr. Suranjita Paul

 

Picture courtesy: Google

https://www.youtube.com/watch?v=e70Py6kgEsc

http://www.abhijitbanerjee.com/legacy.php

 

Edited & Designed: Dr. Suranjita Paul

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

 

Patronisation, Performance, Kolkata, Listening, 1975-2000

Radio Impact

Told by Samar Saha
Obtained by Abishek Chatterjee
Date 17 November 2014
Place Samar Saha’s residence at the ITC-SRA, 1 N.S.C. Bose Road, Kolkata 700040
On Samar Saha Eminent Tabla Player. Attached to ITC-SRA, Kolkata
Key-words All India Radio, Betar Jagat, Subaddha Sangeet, 1982, Ajoy Chakraborty, Arun Bhaduri, Tejendra Narayan Majumdar, Kaunsi Kanhara, sarod, Munwar Ali Khan, Jorasanko, Rabindra Bharati
Language Bengali

Samar Saha speaks

Patronisation, Kolkata, Music, West, Before 1900

Wajid Ali Shah and Kolkata

Told by Goutam Ghosh
Obtained by Sanjoy Bandopadhyay
Date 17 December 2014
Place Sangeet Bhavan, B.T. Road Campus, Rabindra Bharati University, 56A, B.T. Road, Kolkata 700050
On Goutam Ghosh Faculty member of the Department of Instrumental Music, Rabindra Bharati University, Sarod player [disciple of Ustd. Dhyanesh Khan], Music Director, Music Critic, Composer
Key-words Wajid Ali Shah, Oudh, Ayoddha, thumri, biriyani, instrumental music, chamber music, tabla, Khidirpur, Metia Buruj

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Wajed Ali Shah
Wajed Ali Shah

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Metibruz
Metiabruz

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????????? ???????? ???? ????? ???? ????? ??? ????? ??? ?? ?????? ??? ???? ????? ????? ?????????. ??? ????? ????? ?????, ???, ????? ??? ???????? ??? ??, ???????? ???, ??? ????? ????? ????? ??? ???? ?????? ?????. ?????? ???????? ????? ???? ????????????? ???, ??? ?????? ??????? ?????? ??? ???????????? ???? ???? ??? ???????? ?????.

?? ????? ??? ?? ? ????????? ?????? ?????????? ???? ??????? ????? ???? ??????? ?? ?????? ??????? ?????? ??? ??? ?? ?????? ???? ??? ???? ???? ?????? ??? ?????? ???????? ? ????? ??? ?? ?????? ??????? ??. ?????? ??? ?????? ????????? ???? ??? ????? ????? ?? ??? ??? ????????? ?? ??????? ?????? ?? ???????? ?????, ??? ?????, “??? ?????? ????”. ?? ???????? ?????? ????? ?????? ?? ?????? ??. ??? ?????? ???????? ????? ????, ?????? ????????? ????? ???? ????? ???? ????? ?? ?? ???????? ???? ???? ????????, ??? ????? ?? ??? ?????? ???? ????. ??? ??????? ??? ??? ?? ????? ?? ????? ???????? ??, ??????? ??? ??????? ?????? ???? ???? ?????? ???????- ?????? ??, ?? ??? ?????? ?? ??? ????? ???????? ??. ???? ????????? ?? ?? ????-????? ?????? ??? ??? ???-?????? ????? ???? ??. ??? ????? ??????? ???? ????-???? ????? ????. ?? ???? ?????? ??????? ???? ?????? ????.