| Told by | Bishoke Kumar Sil |
| Obtained by | Suranjita Paul |
| Date | 29th September 2016 |
| Place | 84A, Ahiritola. Kolkata- 700005 |
| About the speaker | Bishoke Kumar Sil is an eminent Sitar and Rudraveena player of Seni gharana |
| Tags | Bahauddin Dagar, Long Meend, Veena, Sitar, Ravi Shankar, Madox Square, Mahajati Sadan, Rabindra Sadan, Alap, Tabla |
| Language | Bengali |
Bishoke Kumar Sil speaks:
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
Amrita Bazar Patrika reports
A Report on the ban on the usage of Harmonium by all A.I.R studios. Stalwarts like Sir Raza Ali, Dr. Rabindranath Tagore, Dr Zakir Husain, K.V.Krisnaswami Aiyar and L. Muthla expressed their logical views against the usage of harmonium as the accompanying instruments.
“Amrita Bazar Patrika [Daily]. Vol: 72; Issue:61 (02 March 1940).” Accessed October 20, 2016. http://eap.bl.uk/database/large_image.a4d?digrec=4262810;catid=226630;r=16827.
Identified by Rajeswary Ganguly Banerjee, Project Fellow.
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
| Told by | Sri Debabrata Mukhapadhyay |
| Obtained by | Rajeswary Ganguly Banerjee |
| Date | 28th September, 2016 |
| Place | Residence of Sri Debabrata Mukhapadhyay at Tarashankar Sarani, Tala, Kolkata |
| About the speaker | Associated to All India radio, Kolkata. He presented several eye-opening discussions on Indian classical music. A poet, writer, and music connoisseur. |
| Tags | Subhas Roychowdhury, Naseem Hussain Khan, Nadeer Hussain Khan, Puria Dhanashree, Agra Gharana, Benaras Gharana, Mustaq Ali Khan, Nanku Maharaj, Tabla, Chhut-taan, Maru-Behag, Kheyal, Taankartav, Riyaz, Ramujee Mishra, Chhut-taan, Nissar Hussain Khan, Rampur Sahaswan Gharana, Bhairavi , Tarana, Megh , Amir Khan, Amir Khusro, Rabindra Nath Tagore, 1965, 1966, 1967, Kesarbai Kerkar, Thumri , Tappa, Performance, Khambaj Tappa, Malini Rajurkar, Hafiz Ahmed Khan, Ramprasad Mishra, Ramuji Mishra, Mohan Kanan, Paikpara |
| Language | Bengali |
Sri Debabrata Mukhapadhyay Speaks :
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
| Told by | Sri Debabrata Mukhapadhyay |
| Obtained by | Rajeswary Ganguly Banerjee |
| Date | 28th September, 2016 |
| Place | Tarashankar Sarani, Tala, Kolkata |
| About the speaker | Associated to All India Radio, Kolkata. He presented several eye-opening discussions on Indian classical music. A poet, writer, and music connoisseur. |
| Tags | Mahajati Sadan ,1955-60, Bade Ghulam Ali Khan, Mian Ki Todi, Gurjari Todi, Taan, Bandish, Tarapada Chakraborty, Halak Taan, Dhaibat, Meer, Gandhar, meend |
| Language | Bengali |
Sri Debabrata Mukhapadhyay Speaks :
Verbatim:
???? ????????? ???????? ????????? ????? ???? ??? ??? ??????? ???, ?????, ?? ????? ????? ????? ?????, ??? ????? ??, ???? ???? ???? ?? ?? ??????? ???? ???????? ?????? ????????? ???????- ‘??? ?? ?????’ ?? ????? ???? ?? ???? ???? ?????? ????????, ?????? ????? ??????, ????? ?????? ??? ??? ????? ????? ???? ???? ????? ?????? ???? ?? ?????? ??????? ????????? ?????, ?? ??????? ?????? ????? ??? ??? ??? ????? ??? ???? ??????? ????, ??? ???? ????? ???? ?? ??????? ????? ?????, ???? ????? ??? ??? ???, ??? ??????? ???? ???? ???????? ??????, ?????? ???? ?????
?????????????? ???? ??????? ????
?? ??? ??? ???, ????? ?????? ????
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?? ?? ????????? ?????? ??? ????? ??? ??? ????? ??? ???? ????????, ??????? ????, ????? ????, ?????? ??? ??? ??? ????, ??? ???? ???? ??????? ?????? ?? ????, ??? ?? ??, ??????? ???? ??????, ??? ??????? ?????? ?????? ??? ????? ??? ??? ????? ????? ?????? ???? ??? ??? ??? “??? ??, ???? ??? ??? ????” ? ???, ?? ?? ?? ????? ???, ?? ????? ?? ?? ???, ?????? ?? ????????? ????? ?? ?????? ?? ??? ???, ?????? ??? ??? ???, ???? ?????? ????? ????? ?????? ????? ?????? ?????? ???????????, ???? ?????? ?????? ?????????, ???? ?? “?????? ??? ?????? ?????? ??? ??? ???’ ?? ????? ?????????, ??? ?? ????? ???, ?? ??????? ????? ????? ???????? ??? ?? ??? ?? ?????? ??? ????? ??? ???? ??? ?? ???? ??? ??, ????? ????? ?? ????? ????? ?????? ???????????, ?? ??????? ???????? ??? ???? ???? ????? ??? ????? ?? ??????? ???? ??????, ????? ?????, ?????? ???? ?? ????? ???? ????? ????? ?? ?? ???? ???? ???? ??? ???? ????? ?????, ??? ??? ???? ???? ???? ??? ???????? ?? ?????? ???, ????????? ??? ????????? ??? ???, ?????? ??? ????? ?? ???????? ??? ????? ??, ???? ???? ???? ???? ???? ??? ??? ???????? ??? ??????? ?????? ??? ???? ???? ??? ?? ???? ????? ????? ?????? ?????? ???? ??? ??? ??? ????? ?????? ????????
???? ??? ? ???????? ???, ?????? ????????? ??????? ?????????? ???? ?? ???? ??????? ??? ???? ????? ???? ??? ??? ???? ??? ???? ??????? ??? ?? ?????? ????? ???? ??????? ??? ???????? ???? ?????? ???, ???? ?????? ??? ???? ?????? ????, ?????? ??? ???? ?????????? ???? ?????? ?? ??? ????? ???? ??, ??? ???? ?????? ??? ?????? ?????????? ???? ???? ??? ???????? ???, ??????? ????? ???????? ???, ??????? ???? ???, ???? ????? ????? ??????? ?? ? ??, ?? ???? ???? ???
??????? ???? ???? ??? ?
????????? ?????? ??? ???? ???, ?? ????? ??????? ???? ???? ??????? ?? ??? ???? ??? ????, ???? ???? ??? ????? ????, ?? ???? ???? ??? ???? ???????????? ??? ???? ??, ?????? ???????? ????? ??? ???????? ??? ???? ?????? ??? ????, ???? ????????????? ???? ?? ??? ???? ????? ???? ??? ???? ???? ???????? ????? ??????????? ?? ?? ?? ????? ??????? ?? ???? ??? ??? ??? ??? ??? ?? ??? ????? ????? ??????? ?? ???? ??? ??? ???? ????? ???? ??????? ??? ??? ??? ?? ??? ??? ??? ?????? ????? ??????? ????????? ????? ????? ??? ???? ??, ????? ????? ?????? ?? ??????? ?? ?????? ??????? ???? ??? ??? ????, ?? ??? ? ???????? ?? ??? ??????????, ?????? ??? ????? ?????? ?? ???????? ??? ??????? ???, ??? ???? ??? ??? ??? ????? ???? ?? ?????? ???? ?? ???????, ??? ???? ?? ????? ??? ??? ????? ??? ???????
Verbatim: Rajeswary Ganguly Banerjee
Translation:
In classical music circle a commonly used word is mood or mijaj. In Bengali, we use this word negatively, as someone having a bad mood but in music world it is connotative of his aesthetic sense and beauty of rendering his music. They have a humour of their own which cannot be perceived by common people but when they convert it into their music it became tangible and we can see their world a little.
I will tell you one such story. I cannot confirm the year, but we can say, 1955-60. Ustad Bade Ghulam ali Khan was performing in Mahajati Sadan. It was almost dawn and he was singing Gurjari Todi and he was a master in that raga. I can still hear his voice “bhor bhai tori bat kataka piya”. It was such a difficult Bandish. There is perhaps no one tossing the Bandish itself, except one. Pt. Tarapada Chakrabarty once sang us the difficult Bandish of “Mahmod Shah durbare Niyamat Khan diyat taan”. This song had a Halaak taan which creates waves of ocean in our heart. Now this song I was referring, Bade Ghulam Ali saab was creating the taana as a mountain stream in rain, coming down upon us in full force. He was creating magic through Gurjari Todi, he went to dhaibat from madhyam, suddenly a cow mooed out of nowhere and the whole magical mood was shattered. But here we are talking about a master and he suddenly changed his tone and through a meer he went from Dhaibat to Gandhar and somehow, he manages to mix his tone with that mooing sound. And the magic was recreated. Everyone cheered because the beauty remained unchanged.
Now I want to discuss something, in our classical musical texts it was said that every note was formed from some animal sound. But I believe it is a tendency in our culture to mark everything through a metaphor. I have recorded personally the different animal sounds to prove that. But it is not true. I have the recordings of cuckoo’s song; it goes from one note to another. Now in this case, gandhar was supposed to be the sound of a goat. Goat and cow are both herbivores, that much we can conclude but only a single sound cannot be identified as a note. You have to have a reference point to denote or identify a note. But anyway, Ghulam Ali Saab had that aesthetical knowledge and training to combine his voice that with the mooing and it was a delight to hear that ethereal music on that pre-dawn moment.
Translation By: Arundhati Banerjee
Edited & Designed: Ms. Rajeswary Ganguly Banerjee
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
| Told by | Sri Debabrata Mukhapadhyay |
| Obtained by | Rajeswary Ganguly Banerjee |
| Date | 28th September, 2016 |
| Place | Residence of Sri Debabrata Mukhapadhyay at Tarashankar Sarani, Tala, Kolkata |
| About the speaker | Associated to All India Radio, Kolkata. He presented several eye-opening discussions on Indian classical music. A poet, writer, and music connoisseur. |
| Tags | Nitai Bose, Mustaq Ali Khan, 1965, Arjun Shejwal, Pakhawaj, Akashbani, Rabindra Sadan, Ajodhya Prasad , Pratap Narayan Mitra, Fahimuddin Khan Dagar, Enayat Khan, Stretched Membrane Instrument, Frequency, Baya, Dhrupad |
| Language | Bengali |
Sri Debabrata Mukhapadhyay Speaks :
Text Version:
Nitai Basu, the disciple of Ustad Mustaque Ali Khan, was a very learned, gentleman and his house was an abode of classical music performed by masters. He liked me a lot and came to visit me often. He didn’t like my way of comparing musical notes with mathematics yet we got along fine. It was in 1965 that I heard Arjun Sejwal’s solo Pakhwaj performance.
I had heard Pandit Ayodhyaprasad and Pratap Narayan Mitra’s pakhawaj but it was quite another experience to hear Arjun Sejwal. Later I came in contact with Ustad Fahimuddin Khan Dagar, but it was another story. Anyway, I was a bit sceptical about solo performance of pakhawaj but it was an opportunity to watch this quite closely, so I went. Arjun Sejwal was not looked like an artist rather he had the physic of a wrestler. His wrist was mascular and strong. It was a tradition in classical music in our country that pakhwaj players must learn wrestling well because they had to carry almost 60 kg weight of their instrument. But his smile was beguiling; he was quite young then, 35 years maybe. The performance was was quite homely and simple. It all happened in a small room of Nitai Basu’s house. Here I first watched the astonishing job of putting whole wheat in a pakhwaj. Pakhwaj is an Indian instrument with stretched membrane loaded at the centre (if I may use the physics jargon). Pakhwaj had a very low tonal quality basically and a thick layer of whole wheat (atta) had to be used. When the left side of pakhwaj was being played it gives a very bass sound and it prepared the serious atmosphere for Dhrupad.
Arjun Sejwal played this difficult instrument so easily as if he was doing nothing. A smiling face and his hands flew with practised ease it was a feast to the eyes. The beauty of music is not only in listening but also in viewing. In our ancient script it was written about knowing the soul. Soul is omniscient, so how one can understand one’s soul. So, you should think about it, listen to it, view it and meditate it, the perfect mix of all the external experiences will lead you to know your soul. I think, Indian classical music is just like that.
Translation by: Arundhati Banerjee
Picture Courtesy: Google
Edited & Designed: Ms. Rajeswary Ganguly Banerjee
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
| Told by | Irfan Muhammad Khan |
| Obtained by | Prof. Sanjoy Bandopadhyay and Troilee Dutta |
| Date | 27 September, 2016 |
| Place | Residence of Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092 |
| On Irfan Muhammad Khan | Irfan Md. Khan is an established Sarod Player. The scion of Lucknow Shahjanpur Gharana Sarod player. He represents the Lucknow-Shahjahanpur Gharana which has produced eminent Sarod players like Ustad Enayet Khan (1790-1883), Ustad Asadullah Khan Kaukab (1852-1919), Ustad Karamatuilah Khan (1848-1933), Prof. Sakhawat Hussain Khan (1875-1955), also his illustrious father Ustad Umar Khan (1916-1982) and his uncle Ustad Ilyas Khan (1924-1989) the famous Sitar player of Lucknow. |
| Key-words | Queen Victoria, coronation, silver jubilee, fast gat, flat plate, Yusuf Ali Khan, sitariya, Lucknow, Motilal Nehru, 1887, saw blade |
| Language | Hindi [also include some English and Bengali sentences.] |
Irfan Muhammad Khan speaks:
Paraphrase:
It was Queen Victoria’s silver jubilee coronation in 1887. Ustad Enayat khan was invited to perform on that occasion. In old days only Drut Gats could be performed in Sarod because of their structural build up. Even on those days, in Sarod, there used to be flat plate instead of round metal plate which attached by placing a normal saw blade. Therefore those were very difficult to open up. Ustad Enayat Khan was famous for his fast fingering specially his right hand work was fabulous. The listeners were so enchanted with the enigmatic performance that they could not believe that a person could perform in such a fast speed. They thought that the Sarod might have some mechanism which helped the player to play faster. So they asked for a screw driver in order to open up the plate. But as soon as they open the plate they found hollow inside. Then they could feel the aesthetic rendition of the Sarod maestro.
In those days some eminent musicians were also very proficient instrument makers. Ustad Yusuf khan of Lucknow, the Sitar maestro, used to shape his own instrument. His father Ustad Bahadur Hussain Khan, hugely known as Bhondu Ustad, was an owner of instrument manufacturing shop. Yusuf Khan was so perfectionist that if he noticed any musical note (Swara) sound slightly closed, he started Jawari even before the programme. For this he used to get scold from Shakhawat Hussain Khan, the Grandfather of Irfan Muhammad Khan, speaker of this beautiful story.
Paraphrased by: Dr. Suranjita Paul
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
| Told by | Ustd. Irfan Muhammad Khan |
| Obtained by | Prof. Sanjoy Bandopadhyay and Troilee Dutta |
| Date | 27 September, 2016 |
| Place | Residence of Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092 |
| On Irfan Muhammad Khan | Irfan Md. Khan is an established Sarod Player. The scion of Lucknow Shahjanpur Gharana Sarod player. He represents the Lucknow-Shahjahanpur Gharana which has produced eminent Sarod players like Ustad Enayet Khan (1790-1883), Ustad Asadullah Khan Kaukab (1852-1919), Ustad Karamatuilah Khan (1848-1933), Prof. Sakhawat Hussain Khan (1875-1955), also his illustrious father Ustad Umar Khan (1916-1982) and his uncle Ustad Ilyas Khan (1924-1989) the famous Sitar player of Lucknow. |
| Key-words | Imdad Khan, Tarab strings, taraf, Puriya, haren Sheel, Sil, Kaukab Khan, Kaukabh, Marwa, Mand, Surbahar, 1910, Marwari Hospital, Jorasanko |
| Language | Hindi [also include some English and Bengali sentences.] |
Ustd. Irfan Muhammad Khan speaks:
Paraphrase:
This is an embarrassing story, a tongue in cheek situation that happened in the house of Haren Sil. It was probably 1910 or 1912. Haren Sil’s house was on Chitpur Road, near Jorasankho Thakurbari that is now famously known as Rabindra Bharati University. Haren Sil’s house was like a sanctum where legendary musicians regularly visited, so almost every day Baithakis took place.
In this Sil house, once an incident happened with Imdad Khan, the legendary Sitar and Surbahar player. Imdad khan used to tune his Surbahar in all 12 notes so that he could randomly access any Raga in a bit moment. Actually he had a very rare power to start from any note. If he could take Tibra Madhyam as his first note, then Bhairavi would come very naturally. He always in a very modest way asked his audiences to request him any Raga of their will. Then he could immediately start that Raga very effortlessly. That was his unique technique, his charisma to mesmerize listeners.
One day in a very casual mood Imdad Khan was playing Puriya and asked his audiences for any raga. Kaukabh Khan, the legendary Sarode player was present at that time before Imdad Khan in Sil house. He told Haren to request him for Marwa. Now that was the most difficult situation for Imdad to turn on Marwa from Puriya. So he very calmly started playing Maand. Kaukabh Khan felt very insulted and began to scream on him that he had asked for Marwa and not Maand. He also scolded Imdad Khan that he should not brag of playing any Raga instantly when he could not do such things in reality. But Imdad Khan went for a tricky answer. He politely stated Khan Saheb that Maand came as his heart’s choice. Kaukabh Khan was very short tempered person. He immediately ordered Haren Sil to snatch his Surbahar and Haren Sil silently obeyed his order. Kaukabh Khan kept that Surbahar for three to four days and after he calmed down he asked Haren to return back that one to Imdad Khan.
This is one of the several stories that buried in Haren Sil’s house, North Kolkata which is now a Marwari hospital.
Paraphrased by: Dr. Suranjita Paul
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
| Told by | Ustd. Irfan Muhammad Khan |
| Obtained by | Prof. Sanjoy Bandopadhyay and Troilee Dutta |
| Date | 27 September, 2016 |
| Place | Residence of Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092 |
| On Irfan Muhammad Khan | Irfan Md. Khan is an established Sarod Player. The scion of Lucknow Shahjanpur Gharana Sarod player. He represents the Lucknow-Shahjahanpur Gharana which has produced eminent Sarod players like Ustad Enayet Khan (1790-1883), Ustad Asadullah Khan Kaukab (1852-1919), Ustad Karamatuilah Khan (1848-1933), Prof. Sakhawat Hussain Khan (1875-1955), also his illustrious father Ustad Umar Khan (1916-1982) and his uncle Ustad Ilyas Khan (1924-1989) the famous Sitar player of Lucknow. |
| Key-words | 1880, Enayet Khan, sarodiya, sarod, Kolkata, Kashem Ali Khan, 1887, England, Atta Khan, Murshidabad, Niyamatullah Khan, Wazed Ali, Basat Khan, Karamatullah Khan, Lucknow, Metiaburuj, 1872, Kobila, Bhawal State, Shafayet Khan, Junagarh, Shakhawat Khan, Shahjahanpur, Nepal, Delhi, Pratibha Debi, Devi, Sangeet sabha, Kaukab Khan, haren Sheel, Sil, Gobar Guha, Banjo, sarod, Dhiren Bose, Kali Pal, Paul, J.C. Bose, Jagadish Chandra, Hirendra nath Chattopadhyay, Pratap Chandra Chandra, Kedara, madhyam, Kaukabh |
| Language | Hindi [also include some English and Bengali sentences.] |
Ustd. Irfan Muhammad Khan speaks:
Text Version:
You come from a great inheritance, please share some anecdotes of your family related to Kolkata.
During 1880s, my ancestor InnayatKhan , the sarod maestro came to Kolkata. He stayed here for a while then went to Jaydevpur,Bhawal estate. Kashim Ali Khan also joined him there. Queen Victoria’s coronation silver jubilee was during that time, in 1887, and Innayat Khan was sent to England by Bengal Jamindaar Association to play at the Durbaar. He was accompanied by a Tabla player named Atta Khan of Murshidabad.
How was Wazed Ali Khan related to all these?
Niyamatullah Khan was related to Wazed Ali Khan. In 1856 when Wazed Ali Khan was deposed, he was sent to Kolkata with his full court. Basatkhan accompanied him here along with some singers and musicians. NiyamatullahKhan also came here along with his two sons, Kaukab Khan and Karamatullah Khan.Niyamatullahhad a relationship with the king for almost thirty years, both in Lucknow and Kolkata. Then he went to Nepal and to fill his empty post Innayat Khan had arrived. When Wazed Ali Shah passed away, he went to Bhawal Estate in Komilla. It was the custom of the day and these local kings were the real patrons then. Afterwards he went to England and he was the first Indian musician who went to England. When he returned, he came back to jaydebpur and spent his last days there.
His son Shafayat Khan took his post in Bhawal estate as court musician. He was also attached to Junagadh, Gujrat. He stayed in Junagadh for a while and then returned. He sentShakhawat Khan Sahabin Bengal. Shakhawat Khan sahib was a young lad then, only fifteen or twenty years of age. He stayed in Jaydebpur for a little and then escaped and went to Lucknow. He was asked why he was staying back, why he didn’t return to his job? He was very reluctant at first, he made some excuses and then he disclosed the real reason for his escape.
Everyday the Rajasaab took the young musician along with him to visit the grave of his earlier GurujiKashim Ali Khan to show respect and told Sakhawat Saab that he would do the same for him too. The young man was frustrated to see his future tomb every day. He was also a bit superstitious, he could not stand this torture daily. So, he escaped and didn’t return.
Niyamatullah khan returned from Nepal and stayed in Delhi where he took his last breath.His sons made their home here in Kolkata, Metiabruz. Pratibha Debi requested Kaukab Khan to be the Principal of her music school Sangeet Sabha. There the Jamindars took music as their hobby because it was costly. But I must say this, my ancestors made agreat mistake to teach this upper-class people. They took it as a mere hobby, nothing serious. But I think, if they taught common folk it would be better, real learners would then get a chance and they would become immortal through their disciples.
Among his desciples were HarenShil who learnt Surbahar, Gobor Guha who was a famous body builder learnt Banjo and Sarod. Dhiren Bose was a famous sarod player, Kali Pal learnt Esraj. Sarat Bose, scientist J.C.Bose learnt Sarod from my ancestors. Harindranath Chattopadhyay, the husband of Sarojini Naidu, Pratap Chandra Chandra also learnt Sarod. They were quite eccentric and loyal to my ancestors. Once HarenShil was learning Kedar and suddenly a part of a chandelier dropped down when madhyam was played. The sound of broken glass beautifully twined with the madhyam and HarenShil asked his servant to break the entire Belgian chandelier to create the beauty of the sound again. Such was their eccentricity.
TRANSLATON BY ARUNDHATI BANERJEE
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
| Told by | Vidushi Purnima Sen |
| Obtained by | Sukanya Sarkar |
| Date | 19th April 2015 |
| Place | 149/1C Rash Bihari Avenue. Kolkata -29 |
| About the speaker | Vidushi Purnima Sen is an exponent of Agra –Atruli gharana. She was the disciple of Vilayat Hussain Khan of Agra-Atrauli gharana. She has also learnt from Ata Hussain Khan and Sharafat Hussain Khan of the same gharana. She is considered as the heir of Agra-Atrauli gharana. |
| Tags | Ata Hussain Khan, Mustaq Hussain Khan, Mahishadal Rajbari, Wellesley Street, Agra-Atrauli, Mehboob Khan, Istiyak Hussain, Golam Taki Khan, Rageswari, Malkaunsh, Tanpura, Behag, Desh, 1964 |
| Language | Bengali |
Vidushi Purnima Sen speaks:
Metadata is generated by Suranjita Paul
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
| Told by | Vidushi Purnima Sen |
| Obtained by | Sukanya Sarkar |
| Date | 19th April 2015 |
| Place | 149/1C Rash Bihari Avenue. Kolkata -29 |
| About the speaker | Vidushi Purnima Sen is an exponent of Agra –Atruli gharana. She was the disciple of Vilayat Hussain Khan of Agra-Atrauli gharana. She has also learnt from Ata Hussain Khan and Sharafat Hussain Khan of the same gharana. She is considered as the heir of Agra-Atrauli gharana. |
| Tags | Rabindra Sadan, 1976, Green Room, Sharafat Khan, Gara-Kanada, Tabla, Jalsa, Stage, Patamanjari, Prayer, Raga, Gharana |
| Language | Bengali |
Vidushi Purnima Sen speaks:
Metadata is generated by Suranjita Paul
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.