Badal Khan Saheb started teaching music to father. This was at either the Chhidam Mudi lane or the Gulu Ostagar Lane residence.
Pt. Vishmadeb Chattopadhyay
Baba had learned Tappa well before this. But the first thing that Badal Khan did was to stop him from singing Bengali songs, saying that singing those cast a regional influence on his singing, which would prevent him in his endeavour to bring about the pan-Indian character in father’s voice. So Bhismadev stopped singing bangla songs, which opened up the North Indian style before him. Even to a talented artist like Bhismadev, Badal Khan taught only Malkauns for six months. He started teaching in 1923, when father was 14 years old. After the lessons had gone on for six months, my grandfather, Ashutosh Chattopadhyay, noticed that the same song was going on for six months, no new ones. And the fees or ‘Gurudakshina’ that was being paid to Badal Khan saheb was quite hefty even by today’s standards. Each day he used to come, he was paid two rupees, which was the price of one mon (about 37 kgs) of rice. And the rickshaw fare was paid separately. You can calculate how much that quantity of rice costs now. This was paid per day. It also happened, though not within those six months, that Badal Khan saheb had come twice a day, because he had suddenly remembered a song that he had to teach. Anyway, every day he came, Ashutosh Chattopadhyay, who had never taken lessons in music himself, thought that the same song was being taught for six months. Just as Badal Khan saheb had finished his lessons and gone out of the room, than Ashutosh Chattopadhyay said to Bhismadev, “ Will he not give you any other song? The same malkauns has been going on.” Badal Khan saheb had not actually left, as he took some time to put on his shoes due to old age. He came back in and said, “ Ashubabu, Malkauns is such a Raag that let alone six months, even six life spans are not enough to learn it. I am preparing the base now; you’ll see the results after the preparation is complete.” Later, it was often the case that he taught one raag in the morning and another in the evening. And, thanks to Bhismadev’s musical talent, he picked it up with ease. Not everyone he tried to teach thus could do so. He was so talented that often the raag he learned in the morning, he performed at a musical function in the evening. And I am not talking about the song, but the Raag itself.
This anecdotes speaks of Ustad Vishmadev Chatterjee in his child age of 5 years/7 years. He was born in 1909. Therefore 1914 and 1916 have been identified as the time when he was 5 and 7 year old. – Editor
Guru Murarimohan left his earthly body on 1904. Durlabha Chandra started organizing a concert named MurariSammelan on memory of his Guruji from next year. Since 34 years this annual concert used to run smoothly. Not only artists from Kolkata but also artists from Bishnupur, Murshidabad and all over India had come and participated in the concert. After Murari Sammelan annual Shankar Utsav began. That concert used to take place for all night on the occasion of Shiv Ratri at Radhanath Mallick Lane. After then Lalchand Utsav started from 1928. However After the sad demise of Durlabha Chandra, things started falling apart in Murari Sammelan. The way the life of Mridanga expert Durlabha Chandra was wondrous similarly his death was quite absurd that took place at Pathuriaghata in the house of Bhupendra nath Ghosh, a passionate music lover of and founder of All Bengal Music Conference. The date was 24thAshwin 1938. There was a baithak at the Bhupendra nath Ghosh’s place. All famous artists of India had gathered at his place. Great pakhawaj player Shankar Rao Ustad, BrajendraKishor, Gour Chandra Ghosh, Dhrupadiya Gopal Chandra Bandhapadhyay, Girija Shankar Chakraborty, Ayodhya Ram Pathak and also the Maharaja of Nator, Jogindranath Ray and PanditDurlabh Chandra. People were really happy and excited to see Mridangacharya Dulibabu. There were also many young music lovers who had heard the name and greatness of Durlabh Chandra but never seen him performing. Many among them requested Durlabh Chandra to play. His fingers were restless but his disciples did not agree.
Radhika Prasad Goswami
Young vocalist Lalit Mohan Mukhopadhyay started his alaap in the middle of the night. Dhrupadiya Lalit was an acclaimed disciple of Radhika Prasad Goswami and son of Mohim Chandra Mukhopadhyay. Lalit started with Miya-ki- Malhar – ‘He Adi Anth’, the favourite raga of Ustad Mir Mohammad Gaji MiyaTansenji. Durlabh Chandra could not hold himself back anymore. He snatched the pakhawaj from his disciple’s hand.Pakhawaj started speaking getting touch of the known hands “Dha”. A joy wave covered from one edge to another edge. Just like raga, so is the singer, so is the player. Mridang started running after the singer initiating the bol in choutal. The tihai was hugged with fast rhythm steeped in ankles.
Nobody knew and no one had noticed that the raging sensation of the Brahmin’s nerves, which started in the rush is not of the Mallhar rather of Deepak. The veins of the old are beginning to burst. Lalitbabu took the blessings of the old Durlabh and said – “Today my birth is successful.”The oldman Durlabha Chandra blessed Lalit raising both the hands. The old man held his hands and whispered in his ears – “Do you know a secret? You did it. Lalit, you did it.” His eyes were filled with tears. Then he joined his hands and said – “ Then bless me , grant my last wish”.
Durlabha – “ Say, say, what do you want? Today I am Karna”
Lalit – “ I will sing DarbariKaanda. And you have to accompany me.”
He pulled up the laid down pakhawaj. Again, the genius of the genre ranges to conform to the harpist. All the listeners submerged with the melody .Then began DarbariKaanda on Sur fankTaal with the moods of Ustad – “ BajatoJhajMridang”. The blue veined hands raised bols newly in the mridang. The music is fast ranging from peak to peak. The seven swaras are chirping like seven pet birds. He was playing melodious and had become bundled. Suddenly, the ones who were sitting at the side of the front rows started noticing that Durlabha Chandra was playing only with his left hand, his right hand had become still. That was quite absurd. None of them had ever dreamt that the right side of his body was completely devastated by the cruel attack of paralysis. He was tolerating a severe pain with all his body. The wise Brahmin cannot be defeated, so that he takes on the necklace of the suralakshmi, so that the physical pain is neglected by one and the other. He kept continuing the thekain one hand. Suddenly, it was noticed by the vocalist, he said – “ What’s this?” . At the next moment, he collapsed and as if Mridangacharya was offering his last prayer to the Goddess of Music. Coronary Thrombosis affected his last breath. Such death is desirable for music preachers. Such death makes an artist mortal. What is the greater honour any artist can ask?
The Sunday | Amrita Bazar Patrika | December 29, 1940
All Bengal Music Conference
SITS TO-DAY
A Galaxy Famous Artists To Participate
Ustad Mustaqu Hossain Khan of Rampur state and Ustad Bhailal Muhammad Rababi of Amritsar, two of India’s foremost classical vocal musicians will demonstrate To-day at All Bengal Music Conference which opens session this morning at 9.30 A.M. at The First Empire Theatre board. In the unavoidable absence of President of the committee, Maharaja Jogindranath Roy of Natore, owing to illness, Sir Manmotho Nath Mukherjee will preside, while Kumar Prasad Garga of Mahissadal will deliver address as Chairman of the Reception Committee. The Conference will continue for four days.
The Hony General Secretary Sj. Bhupendra Krishna Ghose will also be absent as he is physically bedridden being down with serious illness. His report will be presented by Sj. Sital Chandra Bose, one of the departmental secretaries.
Mr Radhika Mohan Moitra, the well known sworodiya and a disciple of Late Ustad Amir Khan will act as director of programme.
The conference will held two sittings daily – Morning at 9.30 A.M. and Evening at 5.30 P.M.
Among other famous artists who will demonstrate at the eight sittings of the conference will be Ustad Ghulam Ali Khan of Lahore (Kheyal), Srimati Hirabai Barodekar of Bombay (Kheyal and Thumri), Pandit Onkarnath Thakur of Bombay, Srimati Menaka bai Shirodkar of Bombay (Dance and Kheyal), Master Madan of Keonthol state (Kheyal), Bilatu’s Sanai Party oh Benaras, Ustad Ziauddin Khan of Udaipur state and Prof. Mainuddin Khan son of Late Ustad Nasiruddin Khan of Indore (Dhrupad), Pt.Ramesh Ch. Thakur of Bombay (Tabla Tarang ), Prof. Ali AKBAR Khan son of Prof. Alauddin Khan (Swarode), Prof. Anokhelal of Benaras (Tabla Lahra), Prof. Asfaque Hussain Khan of Surgana state (Kheyal), Prof. Sundaram Iyer of Madras University (Violin), Prof. Ramanuj Iyengar of Madras (Veen), Pt.Maganlal of Panchgachiya Raj (Kheyal), Srimati Saraswati Bai of Bombay (Kheyal), Prof. Nagesh Rao of Bombay (Kheyal), Prof. Ameer Khan of Indore (Kheyal) etc…etc.
TO-DAY’S PROGRAMME
First Sitting – Morning – 9 a.m : 1. Mangalachran – Pandit Srinath Samadhyayee 2. Opening Song – “Bandemataram” by Bijan Bala Ghosh Dastidar: 3. Welcome Address by The Chairman of the Reception Committee; 4. Speeches; 5. Presidential Address; 6. Formal Opening of the Conference.
Second Sitting – Evening -5.30 P.M. – Demonstrations by Competitors.
Demonstrations by Musicians – Dhrupad Gopeswar Banerjee; Setar – Prof. Ziauddin Khan (Udaypur State); Dhrupad – Ramchanda Bhatt( Benares); Kheyal – Jatadhari Jha (Darbhangha); Tappa – Kalipada Pathak; Dukkar – Prof. Nasir Khan (Punjab); Kheyal – Ostad Bhailal Muhammad Rababi (Amritsar); Setar – Sj. Bimala Kanto Roychowdhury; Dance – Sm. Menka Bai Shirodkar (Bombay); Sursringar – Birendra K. Roychaudhury; Dhrupad – K.C.Dey; Kheyal – Jnan Goswami; Tabla Lahra – Keramat Khan; Kheyal – Pt . Maghanlal of Panchgachia Raj; – Kheyal and Thumri – Saraswati Bai.
PRIZE DISTRIBUTION TO COMPETITORS
The prize distribution ceremony of the music conference was held on Thursday evening (Dec 25) at the University Institute Hall. The old veteran musician Sj. Gopal Chandra Banerjee presided and Kumar Deba Prasad Garga gave away the prizes in the shape of medals, certificates, running cups and trophies to 130 female and 89 male successful competitors, the total number being 219 out of 638 competitors. The competitors and those present were treated to refreshments.
After a vote of thanks moved by Mr. D. D. Khanna, Treasurer of the conference, the function came to a close.
Identified by Rajeswary Ganguly Banerjee, Research Fellow
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
70 7&8 Nirala Apartment, Boral. Kolkata -700154 at the residence of Arup Chattopadhyay
About the speaker
Arup Chattopadhyay is a renowned Tabla Player of India and abroad. He is the son of famous Tabla player Pandit Pankaj Chattopadhyay. He is the disciple of Tabla maestro Pandit Sankar Ghosh of Farukkhabad Gharana.
Tags
Nayan Ghosh, Sitar Player, Tabla Player, Debojyoti Bose, Sarod, Alok Lahiri, Chandannagar, Sangeet Research Academy, Bombay, Pune, Nasik, Buddhadev Das Gupta, Madhusudan Manch, Arun, Tarak Saha, Samar Saha.
Language
Bengali
Arup Chattopadhyay speaks:
Metadata generated by Suranjita Paul
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
