Category Archives: Performance

Music Stalwarts In Baithak

Told by Ms Mita Nag
Obtained by Rajeswary Ganguly Banerjee
Date 27th October,2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University, B.T. Road Campus.
About the speaker Renowned Sitar Player and Torchbearer of Bishnupur  Gharana.
Tags House Concerts, Manilal Nag, 1960, 1970, 1980, Musicians, Performance, Bagbazar, Naina Devi, Buddhadeb Dasgupta, Keramatullah Khan, Meera Bandopadhyay, Prasun Bandopadhyay, Gokul Nag, V.G. Jog
Language English

Ms Mita Nag Speaks:

Text Version:

When I was growing up in my family, I remember in my childhood, I have seen many house concerts taking place and at that time, my baba Pt Manilal Nag, it was his prime time, that was in sixties, and seventies,  into late seventies and even in late eighties and I used to see once or twice in a year, like when there were major concerts, in winter,in or around  Kolkata, many musicians from the city and from other cities, they used to come over to the town for their performances, and with such musicians with whom my baba had very cordial relations, because he got familiar with them while travelling everywhere around the countries for many years, so they just used to you know, gossip together, and they used to go to concerts together, and sometimes travelling together so, like it was a kind of a kind of ‘Adda’, musical ‘Adda’.

Naina Devi

My baba just asked some senior musicians and junior musicians and they used to come to our home at Bagbazar, and rendered their performances, so in my childhood like in seventies I remember, Smt Naina Devi ji, I also remember buddhajethu, that Pt. Buddhadeb Dasgupta, but that was off course much later, early eighties. even  remember Ustad Keramatullah Khan, and they all came to our houses, I mean our home and the adjacent home where there was a big hall, or hall room on the first floor, so the concerts, when like there was some very very renowned musicians coming, then we used to shift the concerts to that place so that more people can be accommodated, so they came and I also remember that I used to call her ‘Pishima’ meere pishima, that is Bidushi Meera Banerjee, and Pt Prasun Banerjee, Prasun Pishemoshai, like they all had used to have a very cordial and friendly relation with my grand father and my father, and beside that we also used to have house concerts, sometimes the concerts were nightlong concerts, Pt V.G.Jog performed duet  in our house concert with baba. So these were really interesting time, may be I don’t remember the music with that in details, because I was too young to remember, but I can recall the atmosphere in the house, and my mom used to be in the kitchen, she was cooking with the other women at the house, and sometimes our lady students, like they were cooking dinner for these artists, sometimes they were arranging, like for their rest, like some artists after concerts used to come to the concerts and relax in one of our bedrooms,

Pt. Gokul Nag

so this was the atmosphere which I have seen in my family and I grew up like this, Other thing that I should mention that these musicians like they really built a ‘Adda’ that was that when they came, they didn’t take any honorarium for their performances. They came as a sort of friendly gesture and off course they had a great respect for my ‘Dadu’ Sangeetacharya Gokul Nag, and they knew my father so well, at most they just had dinner in our house, or we arranged for their transport, so those were really good times and we enjoyed a lot.

Verbatim by: Rajeswary Ganguly Banerjee

Picture Courtesy: Google

 http://www.mitanag.com/adver/106803foundation.html

https://www.google.co.in/search?rlz=1C5CHFA_enIN769IN769&biw=1440&bih=826&tbm=isch&sa=1&ei=Ua0WW4zfHcPVvgSBioiwAw&q=+Naina+Devi+singer&oq=+Naina+Devi+singer&gs_l=img.3..0.6605.13158.0.14131.8.5.0.3.3.0.263.943.0j4j1.5.0….0…1c.1.64.img..0.8.949…0i67k1j0i8i30k1j0i24k1.0.0hC98urY8Sw#imgrc=6TL10eQFmbZgUM:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

 

 

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

Kolkata audiences shouts for more Harmonium and Parveen Sultana appreciates Kolkata Audiences—Dover lane Music Conference

Told by Sri Debaprosad Dey
Obtained by Rajeswary Ganguly Banerjee
Date 28th October,2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University, B.T. Road Campus.
About the speaker Renowned Harmonium Player who accompanied many music stalwarts in various Classical Music Conferences.
Tags Accompaniment, Parveen Sultana, Dover lane Music Conference, 2013, 2012, Bhairavi, Tabla,Thumri, Harmonium, Abhijit Banerjee
Language Bengali

Sri Debaprosad Dey speaks:

 

 

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

Accompanying Two Maestros of Thumri— Vidushi Girija Devi and Vidushi Purnima Chowdhury

Told by Sri Debaprosad Dey
Obtained by Rajeswary Ganguly Banerjee
Date 28th October,2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University, B.T. Road Campus.
About the speaker Renowned Harmonium Player who accompanied many music stalwarts in various Classical Music Conferences.
Tags Kheyal, Thumri, Accompaniment, Benaras Gharana, Girija Devi, 2000, 2001, Dadra, Chaiti, Kajri, Gayeki, Swara, Harmonium, Sarengi, Avartan, Purnima Chowdhury, Chaudhury, 2001, 2013, Jodhpurpark,  Madhusudan Mancha, Tabla, Ballygunj, Mrignayani,Khambaj, Thumri
Language Bengali

Sri Debaprosad Dey speaks:

Verbatim:

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

– ?????? ??????? ???? ????? ???? ???? ????????…?

                    Vidushi Girija Devi

– ????? ???????? ??? ???? ???? ??? ???? ???? ???? ??? ??? ???? ?? ??? ?????? ????? ???? ??? ????????? ??? ?????? ??????? ??????? ??????????? ??? ??????? ???? ?????, ?????, ????, ????? ?? ????? ????? ???? ?????? ?????? ???????? ???? ????? ????? ??? ???? ????????? ??????? ??????? ???? ???? ??? ???????, ???? ??? ????????, ???? ????? ????? ??? ???????? ??? ??? ??? ???????? ?????? ????? ???? ??? ??? ???? ???? ???? ???? ????????? ??? ?????? ???? ??? ??? ??? ?????? ?? ??? ???????????? ??? ?????????? ?????, ??????????? ??? ????????? ????? ??? ????? ????? ??? ?? ?????? ???? ?? ?????????? ?? ??????, ?????????? ?????? ???? ???? ?? ?????? ?????? ??????? ???? ???? ??? ???? ?????????? ?????? ????? ?????? ? ??? ???? ??? ????? ????? ?????? ???? ??? ??? ????? ???????? ???? ????? ?????? ??? ??? ??? ?????? ?????? ??????????????? ????? ????????? ??? ??? ??? ????? ????? ??? ????? ??? ??? ?????? ?? ??? ??? ??? ???? ????? ?????? ???? ??? ??? ??? ?????? ??? ???  ???????? ?????? ??? ??? ?????, ????? ????? ??? ??? ?????? ??????? ????? ???? ???????? ??? ???? ??????? ??????? ???? ???????? ?????? ???? ????? ????? ???????? ?? ???, ???? ???????? ??? ??????? ??????

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

– ????????? ???? ?????

–  ????????? ?? ?????????? ??? ????? ??? ???? ??? ?????? ???? ??? ??? ???? ???? ?????? ???? ????????? ?????????? ????????? ???? ??????? ???? ?????? ????? ???? ????????? ???? ???? ?????? ?? ????? ???? ?????? ????? ?????? ??????????? ????? ???????? ?????? ???? ???? ??? ???? ??? ???? ?????? ????????, ???? ???? ??????? ?????? ??????? ???? ???? ??? ???? ????????????? ????????? ????? ?????? ???? ?? ??? ????? ?????? ??? ???????? ??? ???? ?????? ????? ?????? ??????? ????????? ???? ???? ??????

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

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

Verbatim: Dr. Suranjita Paul

Translation:

I have accompanied with kheyal many times though I have realised that the audience loved my accompaniment more with Thumri rather than Kheyal. I want to share my experience with two artists of BenarasGharana. In my early years of performances I have accompanied VidushiGirija Debi several times. She generally preferred to perform kheyal at the beginning of her performances. It was almost 15-20 years ago. She used to sing khayal first and then go for thumri, dadra, chaiti, kajri and other semi classical forms in the Concerts which was a specialization of BenerasGharana. She had a very unique voice, though sheused to avoid variations and embellishments those were commonly applied in Thumrirecitals, but on a sudden she often rendered some beautiful variations with hercontrolled gayekiwhich turned the whole recital into a new level. She always allowed her accompanists a fair chance to perform. She gave equal importance to harmonium and sarangi. She always granted one full abartan(one time circle) for harmonium, another for sarangiand then she would take one full avartan for herself. During her later performances sheusually allowed her disciplesto sing one whole avartan as she could not sing continuously because of her age. But giving a chance to her accompanists to express themselves independently in the concerts between her singings was a regular event since her initial days of performances.It was her style. So, I got enough space during accompanying her. During her performances when she rendered I used to follow her, and then sheused to give me clues to play on my own. I used to play freely but I had always kept her style in mind.

            Vidushi Purnima Choudhury

After Girija Devi when Purnima Choudhury came to Kolkata, I became her regular accompanist till her last breath. It was almost10 to 12 years. She was also from Beneras gharana. If it is back calculated then the time must be 2001 or 2002. Sometimes I played with both of them during that time period. Though both of them were from Benaras gharana still Purnimadi’s style was different from Girija Devi. Her style of singing was little bit swift moving but she had established her signature style so fascinatingly that not only the connoisseurs but also the masses couldenjoy the renditions. She encouraged me lot. We used to travel together and formed a strong bond. She sometimes took Sarangi as an accompanying instrument. Once we were performing in Madhusudan Mancha where she had not taken Sarengi. There she gave me the opportunity to play at the beginning and then she started to sing. Sometimes she would openly comment in between the rendition that if I played so nicely then audiences might not listen to her any more.She used to joke a lot.

Once in a programme in Ballygunge where my wife was present she was singing a thumri on Khambaj raga named Mrignayani. Suddenly, she stopped and said that Debubhai is in a jovial mood as his Mrignayani is present right here and then pointed at my wife. Such was her sense of humour.

 Translated by: Arundhati Banerjee

 

Picture Courtesy: Google

https://www.news18.com/news/india/no-more-babul-mora-from-appa-ji-says-girija-devis-daughter-1556397.html

https://www.youtube.com/watch?v=C47DS3vm-Ao

 Edited & Designed: Dr.Suranjita Paul

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

 

Remembering Pt. Sohanlal Sharma, the exceptional Harmonium Player

Told by Sri Debaprosad Dey
Obtained by Rajeswary Ganguly Banerjee
Date 28th October,2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University, B.T. Road Campus.
About the speaker Renowned Harmonium Player who accompanied many music stalwarts in various Classical Music Conferences.
Tags Amiya Ranjan Bandopadhyay, A.T. Kanan, Harmonium, Rabindra Bharati University, Sohanlal Sharma, Chatu Babu, Latu Babu, Jagdish Prasad, Sandip Deb, Tabla, Accompaniment, Surmandal, Tanpura, 1975, Kalamandir, Ali Akbar Khan, Chandranandan, Masjid Bari Street, Sovabajar,  Learning, Bhabshishya, Shishya
Language Bengali

Sri Debaprosad Dey speaks:

 

 

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

Stepping Into The World of Harmonium Accompaniment—Debaprosad Dey speaks

Told by Sri Debaprosad Dey
Obtained by Rajeswary Ganguly Banerjee
Date 28th October,2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University, B.T. Road Campus.
About the speaker Renowned Harmonium Player who accompanied many music stalwarts in various Classical Music Conferences.
Tags Harmonium, Rabindra Bharati University, Non Scale Changer, Jorasnako, 1973, Scale Changer,  Amiya Ranjan Bandopadhyay, Tanpura, Dilip Patra, Vocalist, Shudhendu Karmakar, Tabla, Accompaniment, Sumitra Raju, A.T. Kanan
Language Bengali

Sri Debaprosad Dey speaks:

 

 

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

 

During Performances I become a listener—Ustd. Ali Akbar Khan

Told by Pt.Sanjoy Bandopadhyay
Obtained by Rajeswary Ganguly Banerjee
Date 26th October,2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University, B.T. Road Campus.
About the speaker Sitar Maestro, Chair  Professor, Department of Instrumental Music, Rabindra Bharati University
Tags Ali Akbar Khan, Sarod, Tuning, Listening, Strumming, Raga, Music, North Indian Classical Music, performance, 1983
Language English

Pt. Sanjoy Bandopadhyay speaks :

Text version:

I would like to put forward why I see Riyaz very important. To tell you about that, I must refer to one of Ustad Ali Akbar Khan Sahab’s , Ali Akbar Khan Sahab’s  TV interview, where he was asked that, “Khan Sahab you are such a great Sarod player,  such a great musician, how do you perform so good in music, such a good music and so beautiful music”. He said that ‘when I go to my sarod, it appears alien to me. Then I try to tune that, and if it tunes well then I go to the stage, and seat tight, start strumming, and then everything, if everything goes well, I become the listener. “

Ustad Ali Akbar Khan

So I also believe that,  this is the way, we the raga music performers, at least  from north India, I would say musicians from India excepting the south, those who are doing raga music,  I think this is the final message. This is the best message I have ever heard. But here comes why Riyaz is important, Riyaz makes, gives you a level of virtuosity, and that makes you comfortable you know, whatever comes in your mind that gets expressed through you, without any hindrance, without any difficulties.   So and to achieve  that level of virtuosity, you are free from any worries, that if some expression comes to your mind, it will get expressed, you require to practice , appropriate practice, I would say intelligent and appropriate practicing.  Thank You.

Verbatim by Rajeswary Ganguly Banerjee

Picture Courtesy: Google

https://www.google.com/search?client=firefox-b-ab&biw=1366&bih=631&tbm=isch&sa=1&ei=x78LW6zrOITHrQGdv4moAQ&q=ali+akbar+khan&oq=ali+akbar+&gs_l=img.1.0.0l10.1949172.1951311.0.1954273.10.8.0.2.2.0.216.1123.0j6j1.7.0….0…1c.1.64.img..1.9.1149…0i67k1.0.x-W_cE93PME#imgrc=qyMaYfFbBsZH3M:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

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

A skeletal overview on the changes in tabla Support Style

Told by Pt.Sanjoy Bandopadhyay
Obtained by Rajeswary Ganguly Banerjee
Date 24th October, 2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University, B.T. Road Campus.
About the speaker Sitar Maestro, Chair  Professor, Department of Instrumental Music, Rabindra Bharati University
Tags 1966, Bistar, Vistar, Amir Khan, Nikhil Banerjee, Kanai Dutta, Taan, Tan, Tabla, Chakradhar, Tihai, Sitar, Sarod, Keramatullah Khan, Sangat, Alla rakha, Zakir Hussain, Nizamuddin Khan, Uthan, Shuruyat, 1980, 1960
Language Bengali

Pt.Sanjoy Bandopadhyay speaks :

 

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

My First Performance—Mita Nag remembers

Told by Ms Mita Nag
Obtained by Rajeswary Ganguly Banerjee
Date 24th October,2016
Place S.A.P. Lab,  Instrumental Music Department,  Rabindra Bharati University, B.T. Road Campus.
About the speaker Renowned Sitar Player and  Torchbearer of Bishnupur  Gharana.
Tags Bagbazar, Kanai Dutta, Naina Devi, Mahapurush Mishra, Buddhadev Dasgupta, Manilal Nag, V.G. Jog,  Keramatullah Khan, Soumitra Lahiri, Tabla ,  Accompaniment, 1977
Language Bengali

Ms. Mita Nag Speaks :

 

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

Similarly impressive Pt. Nikhil Banerjee and Pt. Manilal Nag on the same stage

Told by Pt.Sanjoy Bandopadhyay
Obtained by Rajeswary Ganguly Banerjee
Date 24th October, 2016
Place S.A.P. Lab, Instrumental Department, Rabindra Bharati University, B.T. Road Campus.
About the speaker Sitar Maestro, Chair  Professor, Department of Instrumental Music, Rabindra Bharati University
Tags Sitar, Sarode, Accompaniment, Tabla, 1967, 1968, 1966, Indira Cinema Hall, Nikhil Banerjee, Manilal Nag, Kanai Dutta, Tansen Festival, Raga, Suha
Language Bengali

Pt.Sanjoy Bandopadhyay speaks :

Verbatim:  

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

Pt.Nikhil banerjee and Pt. kanai dutta

?? ??? ??? ???????,  ????? ??? ??? ???? ??? ???, ????? ?? ???? ????? ?????? ????? ?????????? ??? ????? ?? ???? ?????? ????? ????? ??? ?????????? ??? ????? ??? ????? ?? ???? ??? ???? ???????, ?????? ?????? ??? ??? ?????? ????? ???? ???? ????? ???, ???? ??? ?????? ??? ??? ?? ???????????, ???? ??????? ?????? ????, ??? ‘????’ ???????????, ??? ??? ?? ?????, ??? ?? ????? ???, ???????? ?? ???? ??? ??? ?????? ???, ???? ????? ??? ???? ??? ??????, ?????? ????? ?? ????? ???? ??? ???, ??? ?????? ???????? ?????  ?????? ??? ???? ??? ?????? ?? ????? ?????????? ??? ?????? ???, ???? ?????? ??? ????? ?? ?? ??? ?????? ???, ???? ??? ?????, ?????? ??? ?? ?????? ??????, ? ?????? ??? ???????? ??????, ??? ??? ???? ????, ??? ??????? ????? ??? ????? ???? ???? ???? ?????, ?????? ??? ????? ????????? ?????? ??? ???? ???????????, ?????? ??????? ????? ??? ?????, ??? ????????? ?? ??????? ??? ???????????,  ????? ????? ??? ???? ???? ?? ???? ???????   Verbatim: Rjeswary Ganguly Banerjee

 Translation:

My father never wanted me to be attracted to the world of music, and thus I had started listening to Sitar and Sarad and other instrumental music quite late in my life. I started listening conferences perhaps in 1967 or 68.. or perhaps in 1966. It was at the Indira Cinema Hall, where I first had went to listen to a music conference. Most probably it was the Tansen Festival, and there I had heard Nikhil Baneree, Manilal Nag and also Kanai Dutta performing. After listening to Nikhil Da, I remember I had told my father that I will not attempt to learn Sitar, because it was of such unparallel degree. But my father had proposed me a contract that he would give me something f I pursue my sitar practice.

Pt. Manila Nag

I had got the opportunity of experiencing Manilal Nag and Kanai Dutta on the same stage, and I consider myself to be very lucky.I clearly remember Mani  Da had played the Suha that evening. This had a tremendous impact on me, and I liked it very much.  However later in life, I grew to appreciate Nikhil Da’s performances more. But at that night, at the Tansen Festival, I had really liked the Suha that he had played, and I still remember that.

Translated By: Ankana Das

Picture Courtesy: Google

https://www.google.com/search?client=firefox-b&biw=1366&bih=631&tbm=isch&sa=1&ei=7yTwWpn0EoWv0AS1m7CICQ&q=nikhil+banerjee+kanai+dutta&oq=nikhil+banerjee+kanai+dutta&gs_l=img.3…215222.227618.0.227890.27.24.0.3.3.0.278.3296.0j8j8.16.0….0…1c.1.64.img..8.15.2498…0j0i67k1j0i10i67k1j0i30k1j0i5i30k1j0i24k1.0.T3VijJ-onAs#imgrc=Dv9dQv-YAOWtwM:

 

https://www.google.com/search?q=manilal+nag+young&client=firefox-b&source=lnms&tbm=isch&sa=X&ved=0ahUKEwi9qoTyrPPaAhUCopQKHSvRArAQ_AUICigB&biw=1366&bih=631#imgrc=AErFBYM4xEeDMM:

 

 

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

 

 

 

 

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

 

MUSICAL SOIREE, MONMOTHO NATH GANGULI ANNIVERSARY—Amrita Bazar Patrika, 18 February 1940

tributemanmathag

Amrita Bazar Patrika | 18 February, 1940 | Page 14

MUSICAL SOIREE

MONMOTHO NATH GANGULI ANNIVERSARY

The seventh anniversary of the late Mr Manmothonath Ganguli, Attorney-at –Law,Late Deputy Register, High Court, original side, and Honorary Municipal Magistrate Cosipur Branch, Corporation of Calcutta, the famous amateur ostad  of “Tabla” was held at the  house of late Tarak Chandra Bose at no 10 Raja Nabakissan Street, Sovabazar, Calcutta, on Saturday last the 10th February 1940, under the presidency of Mr Nirmal Chandra Chatterjee, M.A., B.L, P.R.S, Barrister-at –Law, Secretary, All India Hindu Mahasabha. Distinguished amongst those  present were Mr.  N. Ghatak, M.B.E, Barrister-at-Law, Official Referee and Master, High Court, Calcutta, Mr. K.L. Mitra Attorney-at –Law, Deputy Register, High Court, Calcutta, Deputy Register  High Court, Mr.  Sachindra Nath Banerjee, Assistant Master and Referee,High Court, Mr. M.B. Dasgupt, Attorney-at –Law, Assistant Register,High Court, Mr. M.N. Sen Solicitor, Mr. Probhat Ghose, Solicitor, Mr. Sarat Kumar Mitra, Advocate, Mr. P.K. Banerjee, Advocate, Mr. Sudhir Chandra Roy Chowdhuri, Attorney-at –Law, Councillor, Calcutta Corporation, Mr. Mrigendra Kumar Mazumder, Coucillor, Calcutta Corporation, Dr. Bhupendra Nath Basu Councillor, Calcutta Corporation, Mr. Bhupendra Krishna Ghose, Mr Upendra Nath Ganguli, Mr. B.N. Basu, Mr. J.P. Ghose, Mr Haripada Chatterjee and others.

Speeches eulogizing the many sided qualities of the head and heart of Manmotho Babu specially his unostentatious life, and literally silent charities were made by Messrs Asutosh Chaudhuri, Anil Kumar Roy, Jagadindra Nath Bhattacharya , Upendra Nath Ganguli, Editor, ”Bichitra” and Mr.  K.L. Mitra, Deputy Registrar, High Court. The President in a brilliant speech feelingly referred to the personal knowledge that he had of the deceased at the High Court. He  charecterized Monmotho Babu as a true Brahmin, who combined in him all the qualities of a real Brahmin. The speaker further opined that in Monmotho Babu one could see a living example of what music can make of a man – to what height of ennoblement a man can be raised by being a true votary of music. In the opinion of the speaker, the rare qualities Monmotho Babu were really the result of his lifelong devotion to music and Bengal will remember him long not only as a true “Sadhak” of music but as the father of the revival of classical music in all its branches and truly will his memory live longer through his worthy son Hirendra Kumar Ganguli,  Attorney-at –Law,  who is an All-India figure in the domain of music and of whom Bengal is really proud.

Thereupon followed the musical soiree which formed the principal feature and chief source of attraction to the music loving Calcutta public. Amongst those who took part in the demonstrations were Mr. Rabindra Nath Roy (Vandemataram song), Mr. Gopal Banerjee(Dhrupad), Prof. Satcowriedas Malakar (Kheyal), Mr. Sudhindra Nath Mazumder (Kheyal), Mr. Jamini Kumar Ganguly (Kheyal), Mr. Krisna Chandra Dey (Kheyal), Pandit Ram Kissen Missra (Kheyal), Mr. Tarapada Chakraborty (Kheyal), Master Ranen Das (Kheyal & Thumri) Mr. Shyam Kumar Ganguly (Sawrode), Mr Radhika Mohan Moitra (Sawrode), Mr Paresh Bhattacharyay(Tabla), and Surendra Nath Dass.

The disciples of Late Mr. Ganguly had reasons to congratulate themselves on the grand success of the function which terminated Late in the morning of the 11 th instant at 6 A.M.

 

Source:

“Amrita Bazar Patrika [Daily]. Vol: 72; Issue:48 (18 February 1940).” Accessed October 21, 2016. http://eap.bl.uk/database/large_image.a4d?digrec=4262614;catid=226617;r=491.

 

 

Identified by Rajeswary Ganguly Banerjee, Research Fellow

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