| 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 | Nazakat Salamat, Omkarnath Thakur, 1952-53, Lalababu, Anokhelal, Gopal Mishra, Malkauns, |
| Language | Bengali |
Maharaj Banerjee speaks :
| 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 | Vilayet Khan with Anokhelal, Keramatullah Khan in All India Conference, Mahajati Sadan, 1953-54 |
| Language | Bengali |
Maharaj Banerjee speaks :
| 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, Alla Rakha, Maharaj Banerjee, Lala Babu, Pakhawaj, tabla, Anokhelal, Samta Prasad, 1952, whole night, Samta Prasad, All India Conference |
| Language | Bengali |
Maharaj Banerjee speaks :
| Told by | Dr. Pradip Ghosh |
| Obtained by | Prof. Sanjoy Bandopadhyay and Suranjita Paul |
| Date | 13 July, 2016 |
| Place | SAP-DRS Lab, Sangeet Bhavan, Rabindra Bharati University |
| On Dr. Pradip Ghosh | Dr. Pradip Ghosh is an erudite music scholar and renowned musicologist. |
| Key-words | Dakshineshwar, Jamiruddin Khan, Bishwanath Chattopadhyay, Shyam Chattopadhyay, Ram Chattopadhyay, Enayet Khan, Vilayet Khan, Bijoybabu, Panchu Gopal Ghosh, sitar, 1944, Shyambazar, Binoy Ghosh, 1951, Satya Kinkar bandyopadhyay, Tarapada Chakraborty, Murari banerjee, Harmonium, Raga svara, Thaata svara |
| Language | Bengali |
Dr. Pradip Ghosh speaks:
| Told by | Dr. Pradip Ghosh |
| Obtained by | Prof. Sanjoy Bandopadhyay and Suranjita Paul |
| Date | 11 July, 2016 |
| Place | SAP-DRS Lab, Sangeet Bhavan, Rabindra Bharati University |
| On Dr. Pradip Ghosh | Dr. Pradip Ghosh is an erudite music scholar and renowned musicologist. |
| Key-words | Robi Thakur, late 17thcentury, early 18th century, Carnatic, Karnatic, Bhasha Ragam, Raganga Ragam, Wajed Ali Shah, gharana, National Library, Dwijendra Nath Thakur, Pathuriaghata, Thakurbari, Gauripur, Burdwan Rajbari, 1856, Vasat Khan, Veen, sarod, sitar, Chhatubabu, Atul Chand Mitra, Banga Aikyatan, Sourindra Mohun Tagore, Shobhabazar, Deb bari, Enayet Khan, Chhotebibi, instrument, vocal |
| Language | Bengali |
Dr. Pradip Ghosh speaks:
Verbatim:
???? ????????? ???????? ????????
???????? ???????? ???? 18th Century ???????? ????? ???? later part of 18th Century and 1st part of 19th Century…????????? ????? ???? ???? ???????? ?????? ????? ?? ????????? ??? ???? ?????? ??? ?????? ??????, ????? ? ???? ???????? ?????????? ??????? ?????????? ???? ???????? ?? ??? ??? ???????? ?????? ??? ?????, ???????? ???? ?????? ?????? ?????? ?????? ???? ???? ????? ??? ??? ??? ???? ???? ???? ??? ?????? ????? ??? ???? ??????? ??? ????? ??? ?????? ? ???? ??? ????? ??? ??? ?? ???? ?? ?????? ???, ??????? ???? ??? ??? ????? ???? ????? ?? ????? ???? ???? ????? ???? ??? ?? ????????? ????? ???, ???? ??????? ????? ??? ?????? ?????? ??? ??????? ?????? ??????? ?????? ????? ??? ????????? ???? ??? ??? ???????? ???? ???? ?????? ?? ???? ???? ???? ???? ??? ?????? ??? ??? ??? ??????? ???? ???? ?????? ????? ?? ????? ????? ??? ?? ???? ??????? ????? ?? ?????? ???????? ??? ??? ???? ?? ???? ??? ???? ????, ???????? ????? ????, ???? ??? ??? ???…???? ????? ?? ??????? ????… ?????? ??? ?? ??????? ??????? ??????? ?????? ???? ????? ??????? ?? ?????? ??? ???? ???? ?? ??????? ????? ????? ??? ????? ???? ??? ?? ?? ??? ????????? ???, ?? ????????? ?? ??? ???? ?????? ?? ???? ?????????? ????? ??? ?????????? ????? ????? ???? ???? ???????? ????????? ????? ??? ?????? ??? ??? ??? ????? ????? ???? ??? ??????? ????? ??? ?????????? ??????, ???? ??? ?????? ????? ??????…?? ???????????? ????? ?????? ???? ??? ????? ??? ???? ??????? ????, ???? ???? ?? ?????? ????? ??? ?????? ???? ????? ??? ?? ????? ?????? ????? ???? ????????? ??????? ?????? ??? ?? ???? ?? ???? ???? Wajid Ali himself was a great composer ??? good Dancer ??? exponent of Classical Music, ???? ???? ??? ??? ???? ??? ???? ???? ????, ???? ???? ??? ???, ???? ?????? ????? ?????????? ??????? ?? ??? ?? ????? ??? ?? ??????? ??? ???? ??? ????? ???? ???…??? ?????? ??? ?????? ????? ??? ??? ??? ???? ????? ?????? ????? ???? ??? ???? ????, ????? ?? ??? ???? ??? ?????? ???? ??? ??? ?????? ???? ??, ?????? ?????? ?????????? ???? ?? ????????? ????????? ???? ??? ?????? ??????? ????????? ?? ? ??????????? ?? ?????? ????, ??????? ??? ??????? ????? ??? ??????????? ???? ????? ?? ?? ??????????? ???? ????? ?? ?? ????? ????? ??? ????? ???, ???? ????? ???? ???? ??????????? ??? ???? ?????? as if he was observing his children? ??? ?????????…???? ??? ??? Wajid Ali Shah was a scholar, musician.
??????, ??????? ????? ??????? ???? ?? , ???? ??????? ????? ???? ??? ???? ??? ????? ????? ????? ?????? ??? ?????? ??? ??????? ?? ?????? ???? ?????? ?????? ?????? ?????? ???? ?????? ????? ????? ?????? ???…??? ?????? ???, ?? ????????????? ???? ?????????????? ????? ????? ?????? ???? ??? ?????? ??????????? ???? ???? ?????, ???????? ?????? ????? ???? ????? ???????? ???? ?? ?????? ???? ????? ???????? ??????? ??? ???? ????? ??? ???? ????? ???????? ??? ???????? ????? ?????? ???????? ???? ?????? ?????? ??????? ?????? ?? ???? ????? ???? Nationality Sprit ??? ?? ??? IndianSovereign ?? ??? ??? ?????? ????? ??? ?? ??? ?????? ??? ???? ????? ?????? ??? ??? ?????? ?? ????? ???? ??? ???????? ????? ???? ???? convert ???????? ????????? ?? being a Sia Muslim, ???? ??? ???? ????? ??? ????? ?????? ??? ??? ????? ???? ??? ????? ??? ????? ????? ????????? ?? ????????? ?? ????? ?????? ????? ?????? ???????? ???? He was too much emotional? ????????? ??? ?? ??…??? ??????? ???? ???? ????? ?????? ??? ??? ????????????? ???????????? ??????? ?????? ??? ?? ???? ?? ????? ??????? ?????? ??????????? ??????? ?????…????????? ?????? ?????? ????? ?????????? ??????, ?????? ???????? ???????…?? ??’? ???? ????? ?????? ???? ?????? ???? ?????? ???? ??????…1856? ???? ??? ?????? ?? 1857 ???? permanently he was vanished in Calcutta. ??? ?????? ???? ???? ?? ??…????? ??? ?????? ????? ??, ????? ??????? ?? ?????? ?????? ??? ???-?? ??????? ???? ?? ?? ???? ???? so called Historians ?? ?????? ??? ??????? ?? ??????? ??? ?????????? ???? ?? ???? ????? ??? ???…??? ???, ???? ???, ????? ???, ??? ???? ???? ?????? ?? ?? ????? ??????? ????? ????? ???? ????????? ??? ?????? ??????????? ????? ????????? ?????? ????? ???? ???? ?????? ???? ?????? ????? ?????????? ???? ???? ????? ?????? ????????? …???? ????????? ????? ??????????? ????? ?? ?? ???? ?????? ???? ????? ???? perform ??? ??????????? ???? ?????? ?????? ?????? ??? ??????? ??????? exactly ?? ?????? ?????? ?????? ??????? ?????? ?? ????? ??? ??? ?????? ?????? ??? ????? ?? ?? ??? ???????? ???? ??? ?? ????? ???? ?????? ???? ?????? ????? ???? ??? ????? ?????? ?? ????????? ????????, ?????? ??? ???? ?????? ???? ?????? ?? ?? ????? ??? ???????? ?????? ?????? ??????? ?????? ???????? ?? ????????? ??? ??????? ?????? ????? ????? ???? ?????? ???? ??????? ???? ???
??? ???? ????? ????????? ???????? ????? ???????? ?????? ????? ?????? ?? ????????? ???? ???????????? ????? ???? ????????????? ?????, ??????????? ???????? ??????? ???? ?????? ??????? ???? ???????? ????? ??? ?????????????,????? ?????????…of course classical ?????? ????? ?? ???????? ????? ??? ????? ???? ?????? ?????? ????? ???? some of them were connected with Wajid Ali Shah court. ???? ??? ???? ??? ??? ??? ?? ??? ?????? ??? ?????? ???????? ???????? ????? ??? ??? ????? ????? ??? ????? ???? ?????? ??? ???? ??????? ??????? ??? ?????? ??? ??? ??? but he was not so. ??? ???????? ????? ??? ?? ??? ?????? ???? ???? ???? ??? ??? ???? ?????
?????? ???? ?????? ?????? ???? ????????? ?? ????????? ???????? ????? ??????…??? ???? ???? ??? ??? …????? ???? ???? ?????? ?????? ????? ??? ???????????? ?????? ?????????????????????? ??????? ???? ???? ???? ??? ?????? ?????? ???? that was Bengal Academy.
??????????? ??? ????? ?? ?? ?????? ???? idle ?????? ??, ???? ???? ??? ? ???? ????? ????? ????? ?????? ??????????? ??? ???? ??? ???? ??????? ??? ???? ??? ?????? ???????????? ???????? ??? ????????? ?? ????? ????? ??? ?????????????? ??????? ????? ???? ????? ?????? ?? ????? ??? ?????? ??? ??? ??? ???? ???? ????? ??????, ?????? ??????, ?????? ??? ??????? ???????? ??????? ????????, ?????? ?????? ???? ????? ?????? ????????? ???? ???????? ???????? ?????? ??????? ?? ??????? ???? ?????? ???? ???????? ???? ????????- ‘??? ??????? ???? ?? ??? ?????????? ???? ????? ???????????? ??? ??? ?????? ???? ?????? ??? ????? ??????? ?????? ????? ??, ??? ????? ????? ?????????
– ????? ?? ??????
– ?????? ????? ?????? ????? ??? ?????????? ???? ??? ?? ?????, ???????? ???…
– ??? ???? ?????? ??? ????? ????? ???? ???? ???????????? ???????? ???? ?????? ????? ?????????
??????? ???? ?? ??? ???? ????? ???????? ????? ???? ?????? ?????? ?????? ??? ???? ?????? ??? ???????? ???? ????? his condition was not good enough to pay them full. ???? ?????? ???? ???? ?????? ????????? ???????, ?????, ????, ???? ???? ???? ??? ???? ??????? ????????? ?????? ?? ??? ?? ????? ???? ?????? ?? ?????? ??? ??? ?? ???? ??????? ???????? ???? ????, ???? ?????? ?????? ??? ?? ??? ???? ?? ?????? ?????? ??? ??? ?? ???????? ????? ???? ??????? ?????? ?????? ???? ???? ???? ???????-?? ?????? ?????? ?????? ???? ?????? ?????? ?????? ??? ??? ??…???? ????, ??? ???????? ??????? ?????? ????? ????? ??, ??? ??? ?????? ????? ????? ?? ???? ?????? ???? ??? ???? pivot point ????? ???? ????? ???? ?????? ??? ??? ?? ???? ??? ???? ????? ???? ?????? ?????? ????? ?????? ?????? ??? ?????…???????? ??? ?????, ?? ??? ????? ?????? ?? ??????? ???? ??? ????? ?????? ?????? ????? ???????? ?????? ???? ??????????????? ???????? ??????? ???? ??????…??????? ?????????????, ???? ????? ?????? ??? ????? ??????? ?? ?????
Verbatim by: Dr. Suranjita Paul
Translation:
You were talking about Nidhu babu?
Nidhu babu came in the mid-18th century. His area was from the later part of the 18th century to the first part of the 19th century. The Bengalis got to know of kheyal and dhrupad when Nidhu babu sang songs based on these raagas. Bengalis used to travel to Kashi, Mathura, and Vrindavan for religious and other purposes. They would hear it there. There are many songs in Bengali also, from that time, which are based on raagas. Raagas are of two types. One is the raaga of a composed song – it was rigid, but it didn’t have rigid rules like your darbari songs. Rules used to be followed more or less. It wouldn’t matter if someone missed a couple of notes. Same is the case for Rabindranath’s songs. In South India, such songs are called ‘Bhasha Raagam’. One could exclude a couple of traditional notes, or insert a new note – it was allowed. Then there are pure raagas. These are called ‘Raganga Raagam’. These are extremely rigid. Darbari songs are in this category. Each community categorised them in their own way. The Bengalis were not aware of this.
The Bengalis first got to know of a rule-bound system of learning raagas with the arrival of Wajid Ali Shah. The British had kept him captive in Kolkata with a pension. He used to stay at Metiabruz. According to the records, he had brought almost hundred singers with him from Lucknow. Most importantly, they belonged to different gharanas. Because Wajid Ali himself was agreat composer and good dancer and an exponent of Classical Music, he had several great qualities. It would be wrong to refer to him only as a king or a nawab, he was an artiste as well. He was essentially an artiste. His thumris were great! But when he came to Kolkata, his finances were in dire straits. He would use up his pension to pay for the singers. And the funny thing is, the books at the National Library and the animals at the Alipore Zoo actually belonged to Wajid Ali Shah – the British took it away from him. The birds and animals had names. Sometimes, in the evenings, he would touch them through the net, as if he was observing his own children. There were so many manuscripts…increadible! Wajid Ali Shah was a scholar, musician.
Anyway, the British didn’t admit to any of this. Just like they stole the Kohinoor. But his aim was music. Many Bengali stalwarts used to visit Wajid Ali Shah’s court. One of them was…there were many others…Rabindranath’s elder brother Dwijendranath Tagore was a close friend of Wajid Ali Shah. Rabindranath himself has written about this. The British didn’t approve of any friendships with Wajid Ali Shah because after the Sepoy Mutiny, the British were of the opinion that he had helped the rebels. And he also had a Nationality Spirit which no other Indian Sovereign possessed. The English marching commands were translated to Hindi by him. He translared military terms into Hindi. And being a Sia Muslim, he was very generous and Krishna philosophy was a favourite of his. For him, all thumris dealt with Radha–Krishna – a lot like Kirtans. He was very emotional about this matter. Then…the talent from his couty began to scatter. Some of them went to Jatindramohan’s place at Pathuriaghata. A couple of them went to the Tagore house. Many went to East Bengal…to the zamindar house in Gauripur, to Maimansingha, to Burdwan. They were scattered. So from then it can be seen…he was brought here in 1856, and by 1857, he was permanently vanished in Kolkata. And from there began…especially Basat Khan, Rababi etc…they all belonged to Wajid Ali Shah’s court. The so-called historians have all written lies. How would the Bengalis get songs of that region? Instrumental, singing…everything…Bin, sarod, sitar – everything came from there. Chhatubabu’s family, the Debs of Beadon Street – they dabbled in sitar. Chhatubabu’s nephew was Atul Chand Mitra. He had learn to play the sitae. He learn it in two ways. One was from Bishnupur. I think the Bishnupur sitar came from…those who perform…Manilal Nag etc…it is exactly as our Rampur gharana…there is an influence. But even they don’t know that it is similar to the Rampur gharana. They learnt from their guru. I think that Wajid Ali Shah is a turning point in classical music. Then one can see how the musicians got scattered across Bengal, especially to places like Kolkata, and the many zamindar households. One can see that a schooling was born.
It has to be remembered that the first school of classical music was established at Sourindramohan’s house at Pathuriaghata. Sourindramohan Tagore, Khetramohan Goswamy etc. It was called Banga Oikyatan. All kinds of instruments, vocals were taught at this school, of course in a classical way. Some of the teachers were connected with Wajid Ali Shah court. There has been no research on this. Wajid Ali Shah was completely anti-British, so the British and their followers always insulted him. But he was not so. His writings reveal that his mind was elsewhere engaged. This is one side.
So, you can see the most important school of music in Kolkata was…a school, not college…Banga Oikyatan. There were more instrumentalists than vocalists. What is now known as the Bengal Music College was called the Bengal Academy.
The Debs of Shobhabajar. These landlords were idle, they did all this when they got money. Of them, the Deb family and Chhatu babu’s family were most cultured in classical music. So they have contributed to the development of classical music, especially instrumental classical music. All names have not been recorded. Because we have seen, and there is proof, that Enayet Khan’s grandfather came and performed. We had organised a programme at the Rajya Sangeet Academy, it was Enayet Khan’s birthday, where Bilayet Khan had said, “No matter where I stay, I always think of Bengal as my motherland because Enayet Khan was here, at the Gaurupur court, and his father had also been here.”
– Imdad Khan sahib.
– Yes. In the context of Bengal, I am specifically talking ahout Bin and sitar. The surbahar came later…
– So the musicians of Wajid Ali Shah’s court had trained others.
They trained many people, but not everyone. Those who were more conservative didn’t consent to taking on every student who came by. As I have already mentioned, Wajid Ali Shah’s condition his condition was not good enough to pay them in full because he had brought many ustaads with him. There were pakhwaj players, sitar players, tabla players, rabab, dancers. Most importantly, the first female tabla player – Chhoti Bibi, had come with Wajid Ali Shah. Or else you would have missed this. In the beginning, his court had more musicians from Lucknow. Wajid Ali Shah himself was from Lucknow. Senia gharana was also there. I haven’t found any mention of the Rampur gharana. I might find it…the same ustaad used to work at several courts, so it is a little difficult to say. There was another role. This is a pivotal point. Those who had come with Wajid Ali Shah scattered. The Nawab wasn’t financially well-off, so they went away to some other court, or to Burdwan, or Dhaka. These things were there. In Bengal, instrumental music was cultivated far more than vocal music. String instruments gained popularity from Wajid Ali Shah’s court.
Translated by Sarbajaya Bhattacharya
Picture Courtesy: Google
https://www.veethi.com/india-people/wajid_ali_shah-photos-4081-28116.htm
https://www.veethi.com/india-people/imdad_khan-profile-4228-24.htm
https://www.outlookindia.com/magazine/story/the-other-oudh/237870
Edited & Designed: Dr. Suranjita Paul
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University
| Told by | Dr. Pradip Ghosh |
| Obtained by | Prof. Sanjoy Bandopadhyay and Suranjita Paul |
| Date | 11 July, 2016 |
| Place | SAP-DRS Lab, Sangeet Bhavan, Rabindra Bharati University |
| On Dr. Pradip Ghosh | Dr. Pradip Ghosh is an erudite music scholar and renowned musicologist. |
| Key-words | Shah Suja, Naubat Khan, Misri Sing, Kalowat, 17th century, Kirtan, 1772, 1756, Lord Clive, Mir Jafar, Shobabazar rajbari, Warren Hastings, Bhu Kailash, Mukherjee, Nidhubabu, 1749, 1838, Akhrai gaan, instituions |
| Language | Bengali |
Dr. Pradip Ghosh speaks:
???????? (?????) ?????? ??????? ??? ???? ??? ?????, ???????? ???????? ?? ?? ???????- ???????????, ??????-?? ?? ??????? ??????, ???? ??????? ???? ????? ????? ????? ???? ????? ???? ???????????? ????? ?????? ???? ??? ??????? ??? ??????? ?????? ?????? ??? ???? ?????? string instrument-? ??? pecussion-? ??? ?????-? ????? ??????? ???-?? ??????? ??? ??????? ??????? ???? ???? ?????? ??????- ???? ???? ??????? ??????-? ??? ????????-?? ?? ???? ??? ????- ???? ?????? ?????? ???? ????????, [??????? ???? ?????? ??? ???, ???????? ????? ?????? ?????? ?? ????? ????? ?????? ?????? ??? ?? ??????? ???? ???? ??? ??????? -(?) religious ???????? ?? (?) secular, ?? ???? ???? ?????? ???? ????????, ?? ????? court ?????? ???] ?????? ???? ?????? ??? ????-? ????? ???? ??? musician-?? ??? ???????? ??? ???? ????? ???????? ???? ???? ??? ?? ?????? ??? (??? ??? ??????-?? ??????) ???? ???? ???????, instrumentalist ??, ? ????? ????????
??? ????? ?????? ?????? ???, ???? ?????? ??????????, ?? ??????-? ??????? ?????? ?? ???? ???? ??????????? ?????? ??? ???? ??? ??? ??, ????? ??????-??? ?????? ?????-?? ???? ?????????????? ?????-? ???? ??? ???? ????? ???? ???? ??????????? ????? ?????? ??????? ?????? ??????? ????????-?? ???? ???? ????? ???? ????? ??? ????? ????? ????? ????????? ??? ????? early status ??? classical music-? ????? ??- ??? ????? ?????? ?????? ????? ????? ???? ??, ???? elit society-? ??? ????? ?????? ???????? ???? ????? ???? ???? ?????? ????? ???? ????-??? ???? ??????? ??? ????? ????? ?????—??? ???????? ??-? ???????? ????
???? ????-??? classical music ?????? ???? ?????, ???? ???? ???????? ?????-? ?????? ???????— ??? ????????-?? classical music ???? ????? ?????? ??? ?????? ???? ?????? ???—?? ?? religious music? ???? ???? ????? ?????? ???? ???? ?????? ?????? ??????? ????? ??? ???? ?? ??? ????? ??????? ??????? ????-???????? ??????? ????????? ?????? ???? ?????-?????? ???????? ?? ??????? ?????? ???? ?????? ?????? ??? ????? ???? ????????? ???, ?? ??? ????? ??? ??? ????? ?? ??? ???? ?????? ???????? ????? ???? ????-?? (???????) ??????? ???????? non-working ??? ?????? ????? ????????? ?????? ???????? ?????? revenue-? ??? ??????? ???? ?????? ??? ??????? ????-?? ???? ???- ?????? ??????? ????? ????? ???????? ??? ??????
???? ???? ???? ??? entertainment ??????-?? ??????? ????, ?????? ?? ?? knowledgeable ??? ?? ????
??? ???? ?????? (???????) ??? ?????? ???? ????????? ??? ??????? ???????? ?????? ????? ?????-?? ???? ?? ????????????? ?????? ????? ???????? ????????????, ??? ???? ?? ????? ????? ???????? ????? ???? ????-? ??? ??????? ???????? ???????? ???? ???? ???? ??????? ???? ????, ???? ???? ?????-??? ?????? ???? ???????? ???????? ??? ???????? ??? ????? ?????-?? ????????? ??? ?????? ??? ?? ???? ????-??? (??? ??????) ????? ????????? ???????? ?????? ???; ???? ?????????? ?????-?? ??????????? ?????? ??? supreme power ?????? ?????-?? ?????? ??? ????, ???? ???????? ???? ???? ???? ?????, ??????? native ????????? ????? ???????? ?????? ???, ???????? idle ???? ????, social work-? ??????? ???? ????, ??? ?????? ???? ????? ???? ????-??????? ???? ???? ????
???? ???? (??? ???? ?????) ?????????? ????-? ???? ??? ????-?? ???? ???? ?? ??? ??? ?? ?? ?????? ???? ?????? ???? ?? training center, ?????????-? ?????? ??? ???? musician-??? ? ?????? ???? ?????? ???-?? ??? ??? ???-???? ??? ????? ????? ????? ???? ??? ????? ???-?? ??? ???? ?????? ??? ??????????? ?????? musical instrument ????—?????? ?????-?????? ??, ?? ?????? South India ???? ??????
Verbatim by Mousumi Das
Translation:
I should talk a bit about the kind of music cultivated in Kolkata in earlier times. The kings who resided in parts away from Kolkata, like in Murshidabad, Nadia, etc, got a fair chance to cultivate music. In the Mangal Kavya, we get references of Bisram Khan and other musicians. In those times, string instruments existed parallel to percussions and vocal singers. Bisram Khan was a called an ‘artist’- and in those days, an artist was one who could sing Dhrupad. So where do you think these artists came from? You must remember Shah Suja, the son of Shah Jahan, who came to Bengal as Governor? Suja had brought with him many musicians to his court. Some to name among these musicians are Naobat Khan, Misri Sing (who was also the son in law of Tansen), who could perform the Dhrupad. In this context, let me mention, that the word ‘artist’ (or ‘Kalabanta’) was known colloquially as ‘Kalawant,’ meaning one who could sing in Dhrupad. And those who could do the Khayals were known as ‘Kawal,’ like Basir Khan Kawal. There also existed a division in this. The Religious Kawali, and, the Secular, which was sung in the court and was founded by Amir Khusroe.
Now, we have evidence to prove that Misri Sing, the courtier of Shah Suja had been to Chittagong. The Mughal Empire was almost in its ruins at that time, and thus the courtiers were in a dire need of contingency for their livelihood. At least I believe so. Because where from would you suggest that the Western Kalowats came to Murshidabad or Nadia? I believe that they had come from the court of Shah Suja. This was the early status of classical music – though this kind of music was not available for the common people’s reach. Only the elites of the society, and the Zamindars, who had friendly connections with the Mughals, had access to these musical endeavours. The time I’m talking about is the 17th century.
The Basaks at that time had not yet emerged with their cultivation of classical music. They were at that time, engrossed in Kirtan- but if you want to categorize Kirtans in the realm of classical music, then I have no problems. But this wasn’t Darabari, but was religious music. After this, we know that in 1757, the British overpowered the Mughal in the Battle of Plassey. The British had come to Kolkata before this- to ask for a few rights and possessions in terms of business, which the erstwhile Nawab hadn’t granted them. So the plan of conquering Bengal was at the back of their heads for quite a long time. Soon after this, Lord Clive came to power. He, by his clever words and with the partnership of Mir Zafar, conspired to make the Emperor a puppet. The emperor had the right over the revenue and other such things, while the British took possession of the army. In one way, they were fully equipped to overthrow the Emperor at any time.
When they had money in their pockets, the question of entertainment gets jumbled up- and it doesn’t necessarily always have to be knowledgeable. In those days, Lord Clive (of Kolkata) used to visit the royal family at Shobha bazar. There is also another story of when Clive had hid at this house, to save himself from the bullets of Siraj ud Daullah. Reportedly, after this incident, he had also decided to reward the family. In 1772, when Warren Hastings came to power, he had a lot of cultural accomplishments, which had benefitted the British mostly.
Hastings also used to visit many of the houses to listen to music- be it at the royal family of Shobhabazar, or the residence of Chatu Babu and his family, or be it the family of Bhukailash Mukherjee. Though, the British by that time had established their rule over most parts of India, and on top of that, there were no acting ruler in Delhi, they still brought out a Pension Scheme for the native Zamindars. This resulted in the Zamindars being jobless at the moment, and it also decreased their will for any social work. They thus indulged in amusements of all sorts with the money they got from the British.
Nidhi Babu, (Ram Nidhi Gupta) was born in the year 1841 and died in the year 1839. The prevalent music culture of the time was that of the Akhras. The word Akhra means a training centre, and most of the Baishnavas ha Akhras at their homes, and invited singers to perform there. the Baishnavas and also the musicians had Akhras. The Akhrai songs resembled a classical song, only if you omit the Taan and the Sargam frm the song, and only sing the Khayal. The instruments would be played in between intervals, a system which had been brought from South India.
Translated by: Ankana Das
Picture Courtesy: Google
Edited & Designed: Ms. Rajeswary Ganguly Banerjee
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University
| 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 | Green room, Vilayet Khan, Shankar Ghosh, presence, gesture, ambience, tahzib, Nikhil banerjee, riyaz, towel, 1976 |
| Language | Bengali |
Prattyush Banerjee speaks:
| 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 | Reyaj, riyaz, seminar, Zakir Hussain, Mombatti, preparation, mental set-up, chintan, manan, spiritual, Amjad Ali Khan, Guru, Dilshad Khan, parveen Sultana, palta, sargam, morning, evening, bandish, tan, time management, Buddhadev Dasgupta, sarod, Bade Ghulam Ali Khan, Vilayet Khan, gayaki |
| Language | Bengali |
Prattyush Banerjee speaks:
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
| 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 | Accompaniment, Shahid Parvez, Swapan Chowdhury, Tintala, Keramatullah Khan, tabla |
| Language | Bengali |
Prattyush Banerjee speaks:
| 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 | Buddhadev Dasgupta, late 1970’s, early 1980’s, talim, listening, Aritra Music Circle, Muneshwar dayal, harmonium, Shahid Parvez, sitar, 1982, Bishop Leffroy Road, central Kolkata, 1984 |
| Language | Bengali |
Prattyush Banerjee speaks: