Category Archives: Performance

North, Accompaniment, 1975-2000

In Search of Bijoy Nandi-The Eminent Pakhawaj Accompanist of Horimoti, Dani Babu Indubala and Others

Told by Sri Rantideb Maitra
Obtained by Rajeswary Ganguly Banerjee
Date 4th March,2017
Place Sri Rantideb Maitra’s Residence, Madur Daho, Kolkata
About the speaker Renowned Music Collector and Music Connoisseur
Tags 1980’s, Pakhawaj, Accompanist, Rajiv Lochan Dey, Tarak Chand Boral, Bitthal Das Gujrathi, Satya Kinkar Bandopadhyay, Sonagachi, Horimoti, Gramaphone Records, Khayal, Thumri, Dhrupad, Bijoy Nandi,Dani Babu, Satya Kinkar Bandopadhyay, Indubala
Language English

Sri Rantideb Maitra speaks :

Text Version:

In the late 1980’s there was a crisis of good pakhawaj players in Calcutta. Rajibbabu had died. Tarak Chand Boral, he was paralyzed.  Bitthal Das Gujrati was becoming quite old and he will never reach out to students of Dhrupad to accompany them in the houses. So it was a very very dicey situation.  Now my wife, you know was a Dhrupad singer and she learnt under Satya Kinkar babu…Sangeetacharya Satya Kinkar Bandyopadhyay and she really wanted you know to keep alive the tradition and so practiced those Dhrupad. But unfortunately she had to practice with Tabla players. And it was my duty. And she used to regularly reprimand me that –‘you are supposed to be a music lover. But you can’t find a simple Pakhawaj player for me in Calcutta’?

I said that, ‘unfortunately Pakhawaj players are not available in Lake Market, Southern Market even New Market. So where will I get it?

– No no no, I mean no joking. If you can’t bring me a Pakhawaj player within this month I’ll stop singing Dhrupad. I’ll sing only Khyal.

I loved Dhrupad too much. I didn’t want to, you know, my wife to give up Dhrupad singing. So I was getting very desperate. Somebody told me that the best place; the only place may be go to Sonagachi because there the famous Harimoti was there.

                        Horimoti Devi

Horimoti was a great singer. You must have heard about her. Horimoti had several gramophone records may be hundreds of gramophone records. Although most of the records were you know light songs, but her Khyal records, her Thumri records and her Dhrupad records are absolutely…you should be preserved in any archives. She was such a great singer. She was in the center of Sonagachi and she was dead at the point of time of course. So who is to accompany Horimoti? He is alive. So that was only clue, a Pakhawaj player who used to accompany Horimoti, stayed somewhere near Sonagachi or in Sonagachi. That was the only clue. So I had to go to Sonagachi and then mostly those were Dalals you know Pimps. So I was asking one Pimp after the other –‘look I want, you know, a Pakhawaj…you know what is Pakhawaj? I drew a Pakhawaj with a pencil….this is Pakhawaj and it played like this. Do you know of a person?

– Dholak?

– No, no, no, not Dholak…Pakhawaj. It is like this, you know.

– Haan, Dholakbajaye ache. KintuPakhawaj? ….aeiekebol to? Okebol to? (Yes, someone is there plays Dholak, but Pakhawaj? Listen…you ask him or someone other…)

So luckily near Sonagachi there was one Tanpura Harmonium shop still. I don’t think it is still there but at that time it was there. So they took me to the Tanpura Harmonium shop. I thought this must be the place. They will know it definitely. So I said that you know…apnaderekhane …do you know any Pakhawaj player who plays Pakhawaj ,Tabla?

– O ekjon e ache….there is only one. His name is Bijoy Nandi. So it was like something blessing from the heaven. I said that -‘where do I find him’?

– He just stays here. Wait here.

I was waiting. After ten to fifteen minutes he got a person. He is very simple type of person.  He is Bijoy Nandi.

– A re apni Bijoybabu…namaskar…namaskar. (Oh…you are Bijoybabu. My heartily greetings…). Do you play pakhawaj?

He said that- ‘oh….pakhawaj! Where are those singers? With whom will I play Pakhawaj? Those were the days you know. Great Ustads…Danibabu…this babu…that babu…Horimoti. Is there any singer fit I have to accompany now?

I said –‘My wife is a disciple of Satyakinkar.

– Oh Satyakinkar …Ok… Ok…

– will you be kind enough to come to my house and accompany her once in a week or twice in a week?

– Where is your house? Then he thought …I said that what will be your fees? He said meager sixty rupees or something. I immediately agreed.

– Was it per class or for a month?

– Per class.

                     Indubala Devi

So I agreed. Then first day I took him in my car and got him in my flat. He started playing Pakhawaj. He was good but he was out of practice. But he was a khandani Pakhawaj player no doubt about that. We understood that and then he started narrating stories about most the gramophone records of Indubala.  He was accompanist. I thought Oh my god what a luck…I mean I was playing one after another Indubala’s records…and he said ‘this is my playing…this is my playing’. The person who accompanies Indubala must be somebody you know. He narrated me lot of stories about Indubala, about Horimoti and those singer of that point of time.

 Verbatim by: Dr. Suranjita Paul

 

Picture Courtesy: Google

https://www.youtube.com/watch?v=Eqg0kmmRR9M

https://www.saregama.com/artist/indubala-devi_2838/songs

Edited & Designed: Dr. Suranjita Paul

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

Performance, Accompaniment, South, 1975-2000

Rasaraj Nidan Bandhu Bandyopadhyay accompanied Bindhayabasini Devi on Pakhawaj—The City’s music-reputation maintained

Told by Sri Rantideb Maitra
Obtained by Rajeswary Ganguly Banerjee
Date 4th March,2017
Place Sri Rantideb Maitra’s Residence, Madur Daho, Kolkata
About the speaker Renowned Music Collector and Music Connoisseur
Tags Bindhyabasini Devi,  Surendranath Bandopadhyay, Gopeswar Bandopadhyay, Rabindranath Tagore, Surbahar, Banjo, Esraj, Dhrupad, khayal, Tappa, Bishnupur, Chetla, Early 1990’s, Pakhawaj, Accompanist, Rajiv Lochan Dey,  Haradhan Pal, Nidan Bandhu Bandyopadhyay, Vocalist, Bamacharan Bandyopadhyay, Tabla, Lakkhan Bhattacharya, Lakshan, Ravi Shankar, Barna Maitra, Bramha taal, Pancham Sawari, Bol, Theka, Benaras, Jaipur, Punjab, Gharana
Language English, [little bit of Hindi and Bengali]

Sri Rantideb Maitra speaks :

 

Verbatim:

 This is about Bindhyabasini Devi, now Bindhyabasini Devi was the daughter of Sangeet Ratnakar Surendranath Bandopadhyay, Surendranath Bandopadhyay was the younger brother of Shri Gopeswar Bandopadhyay,

Sangeetacharya Gopeshwar Bandopadhyay

He himself was a versatile musician, and one of the earliest ‘Swarlipikar’of Tagore songs. He was a ustad of Surbahar, Banjo, himself was a dhrupad singer et etc. Now Bindhyabasini also stayed with her father almost through out her life because she was widowed when she was a child and she learnt everything from her father, Surbahar, Esraj, Banjo, Dhrupad, Khayal everything, Tappa and she was very very, you know, a ‘teji’ lady, teji means what, full of that fiery power, and I have met her several times in Bishnupur, but once a documentary film was made on her life, by some film maker, and she was staying in Chetla in Calcutta. That’s in early 90’S, and I used to visit her, listen to her songs.  But unfortunately at that time, I mean there were very few pakhawaj player at Calcutta, at lest I didn’t know many of them and those Pakhawaj players were not up to the mark, Rajib babu was not there at that point of time, Haradhan Pal was dead, and I mean the great Pakhawaj players were not there. There were bunch of young Pakhawaj players, but knowing Bindhyabasini Devi’s temper, I thought that it’s better not to expose the younger Pakhawaj players with Bindhyabasini Devi. So I was talking to her that before you leave Calcutta there must be a recital, then she said that ‘yes I can sing, but who will play with me?”. I said that I will definitely catch hold of somebody, so let us fix Tuesday evening? I had to have two three days to search for a Pakhawaj player. So that Tuesday evening was fixed for her to sing, in the same house in Chetla, So I was searching, here I don’t want to give the name of some senior Pakhawaj player, I approached him, He said, Oh, he heard the name he was suppose to accompany, then he said o ho I have a class on tht particular day, Then I said please give me some name of your pupils, He gave two or three names and I approached them, but when they heard that there is Ustad from Bishnupur, then they didn’t want to expose them. So I was feeling so frustrated, and that Tuesday duly came and I came back early from the office and I felt so bad, I mean the entire city of Calcutta cant show face to Bindhyabasini Devi, It’s such a big city which doesn’t have a Pakhawaj player. Then one thought stuck me.

Rasaraj Nidan Bandhu Bandopadhyay

I thought that  I know such a great Ustad, Nidan Bondhu Bandopadhyaya, but he is a vocalist, he is a Dhrupad singer, Khayal Singer, nephew of Bama Charan Bandopadhyay and he is Gharanadar, great artist, but Nidan Babu was a very good Tabla player, he is to accompany Lakkhan Bhattacharya, Ravi Shankar, a very good table player and I have seen a Pakhawaj in his room, sometimes he also practices Pakhawaj. But he was a Ustad, he knew everything. Sojust with a trepidation in my heart I went to Nidan Babu and said that there is a serious problem, he said what, what exactly has happened?is anybody ill?

 

I said no no, I narrated to him about Bindhyabasini Devi, I told him that the entire Calcutta has to hang there and it’s a shame if I can’t find a accompanist.

He said yes but what I am suppose to do? I agree but what I am suppose to do?

I said Guruji if you do not mind, can I request you one thing?

What?

I said will you play Pakhawaj with her, o myGod, such great Ustad he was and I am asking him to play Pakhawaj! But he used to really love me like his son, because my wife and my daugther both used to learn under him.

Then he said that – ‘Chup’(Hush), then he closed his door, I said that look yor request is such outrage that if any from my house even listen to your request, it will create lot of problems for you and for me as well.

I said but it’s a desperate situation.

He said I understand, what you do, you just tell my wife, your Mashima, that you are inviting me to your house and I’ll have dinner with you, and what you do is you don’t take my pakhawaj, You have a pakhawaj in your house, bara has a Pakhawaj, I said yes, you go back to your house, put the Pakhawaj in your trunk, and then come and pick me up as if I am going to have dinner with you, but you first tell your Mashima.

I told mashima I want Guruji to have dinner with us and she said yes, why not, why not?

Then I went back home, picked up the Pakhawaj and put the Pakhawaj in trunk, and I just went to his place to pick him up, Nidan Babu came and he went to Chetla, and there were lot of people, they can commemorate what had happened there.  In chetla we went, I carried the Pakhawaj, I can’t expect Nidan Babu to carry the Pakhawaj, He was at least seventy four or seventy five years old at that point of time.

Bindhyabasini was eighty five or eighty six at that time. So the first question she asked me –‘Rontu, who is this boy?’  , He was seventy four or seventy five years old, I said no no he is the person who will play Pakhawaj with you.

She said –he,ll play Pakhawaj, he doesn’t look like a Pakhawaj player, ok “ki he’(hey) in Bengali, boso, seat down, do you know what is Brambhataal? Because you see I don’t sing Dhrupad in Choutaal or Dhamar, these are for my students, so I just you know, want to sing Brambhataal, Pancham Ki Sawari all these things, and I know these people from Calcutta,They never got a chance to play brambhataal on Pakhawaj, so I don’t want him to take so much trouble. Do you know Brambhataal, “

So Nidanbabu was so modest, he was trying to, I don’t know what has happened to him, he was pretending to be modest, what a great person he was, and he was pretending to be modest and said’ yes maa, I know Brambhataa’l and then she said that “Bol Batao brambhataal ka, theka batao”

Then Nidanbabu got slightly angry, and whenever he used to get angry he used to speak Hindi. Sure sign that he is getting angry. Then he said “ Mataji, char kisam ka brambhataal ka theka hota hay, Banaras mein ek hota tha, Jaipur mein aur ek hota tha, aur ek, usey sb bhul gaye, bahut punjab mein ek Dhrupad ka gharana hota tha, wahan pe bhi Bramhataal ka ek theka tha, aur aapki bishnupur mein brambhataal ki koi jaankari nehi hay”. So Bindhyabasini was then impressed and said “oh e anek jaane”( He  knows quite a lot). He knows lot of things right, ok ok grab a seat, and then she sang and he played the Pakhawaj. Brambhataal, Pancham Ki Sawari and all these things. Later she asked his name and he answered Nidan, Ok “Nidan Nidan, tumi bhalo bajao chokra tomar habe, kolkatay akhono du ekjon ache jara jane tane ”( well played my boy, you will sine one day, there two or three people in Kolkata still now who can play, good).

Verbatim: Rajeswary Ganguly Banerjee

Picture Courtesy: Google

https://www.google.co.in/search?biw=1440&bih=826&tbm=isch&sa=1&ei=SjHvWrq2OcXjvgSn2IewAw&q=Gopeswar+Bandopadhyay&oq=Gopeswar+Bandopadhyay&gs_l=img.3…63025.79691.0.80096.44.32.2.0.0.0.259.4626.0j23j3.26.0….0…1c.1.64.img..23.10.1394.0..0j35i39k1j0i67k1j0i10i24k1.0.0m-1rFJdkp0#imgrc=jtb9SSJl8TmhwM:

https://www.google.co.in/search?q=nidan+bandhu+bandyopadhyay&rlz=1C5CHFA_enIN769IN769&source=lnms&tbm=isch&sa=X&ved=0ahUKEwid8N-mwvHaAhUEro8KHV1LAP8Q_AUIDCgD&biw=1440&bih=826#imgrc=4Owr8LvFcVgAgM:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
Performance, North, 1948-1960

Ustd. Amir Khan got impressed and invited him to learn—Jog Kauns by Pt. A.T. Kanan

Told by Jyoti Goho
Obtained by Suranjita Paul
Date 21st February 2017
Place ITC Sangeet Research Academy, 1, Netaji Subhash Chandra Bose Road, Tollygunge, Kolkata – 700040
About the speaker Jyoti Goho is a well-known Harmonium accompanist of Indian Classical Music. He is a Musician Faculty in ITC Sangeet Research Academy, Kolkata.
Tags Whole Night Programme, Mahajati Sadan, A.T.Kanan, 1950, Amir Khan, Begum Aktar, Sarafat Hussain Khan, Bade Gulam Ali Khan, Jog Kosh, Khamaj Thumri, Stage, Organiser, Artist
Language Bengali

Jyoti Goho speaks:

Text version:

???? ????????? ?????, ???-???? ?????????, ??????? ????? ??? ?????? ?????? ? ??????????, ???? ??? ?????? ?????? ??? ??????????

(??????) ???? ???? ??? ??????

??? ??? ?????, ???? ???????? ??? ??? ??????, ???? ?? ?? ???? ???? ???? ?? ?? ???? ??? ????? ??????? ??? ??? ???, ???? ??? ??????? ??? ??? ???, ??? ???????? ?????? ???, ???-???? ?????????? ?????? ?????????? (Organizer)?? ???? ???? ??? ????? ?????? ?? ??? ??? ?????? ??? (??) ???? ???? ??? ?? ???? ??? ????? ?? ?????????? ??????? ?? ???? ??? ????? ??? ??? ???? ???, ????? ??????? ??? ??? ???? ?????? ????? ?????? ?????? ?? ????, ???? ???? ???? ????? ?? ?????????? ????? ?? ?? ??? ?? ?????? ??? ???, ?? ???? ???? ?????, ?? ? ?? ?????? ????? ?? ????? ???? ?? ???? ??? ????? ????? ???? ???? ??? ???? ?? ???? ????? ???? ???? ???? ??? ?? ????  ?????? ?? ??? ????? ??????? ???? ??? ??? ??????? ,????? ???? ???? ????, ???? ??? ????? ?????? ??? ??? ??????,?????? ???? ??? ????? ???? ?? ?? ????? ?????? ??? ????? ???? ?? ???? ??? ???? ??, ??? ???? ?????? ??? ????? ?? ??? ??? ??????, ??? ??????? ????? ??? ???? ???? ????? ??? ???? ??? ?? ???? ???? ?? ??? ??? ??? ?????, ???? ?????? ??? ?? ????? ?????, ??? ??? ???? ?????? ???? ??? ??????? ???, ???? ??????? ????? ?? ????? ?????, ???? ??? ????? ??? ??????? ??? ????? ?? ??? ?? ???? ?????? ?????? ?? ?? ?? ??????, ????? ??? ??? ?????, ???? ?????, ????? ????? ???, ?? ?? ?? ???????? ?? ??? ??? ? ?? ???? ??? ??????? ????? ??? ????? ???? ?? ??? ????? ???? ?????????? (Organizer) ?? ?????  ?? ??? ??? ??? ????? ???? ?????????? ?? ??? ????, ????? ????? ??????? ???? ????, ??? ?????? ?????? ???? ??? ?? ????? ??????? ????? ?????? ??? ????? ???? ??????, ????? ????? ?????? ?????? ?? ?? ?? ????????? ??????? ??? ?????? ????????? ???? ?????? ??? ???????? ?? ???? ??? ???? ????? ???? ??? ??? ?? ?????? ??? ?? ?? ??????, ?? ???? ??? ?????, ?? ????? ???? ??? ??? ???? ??? ??? ????? ?????? ?? ???? ?? ?????? ?? ???? ???, ???? ?? ?????? ????? ???, ??? ????????? ??????? ??????? ???, ???? -??????,   ?????? ????????? ?? ???? ??????? ????? ?????????? ?????? ???, ??? ??? ??? ??? ??? ???? ??? ??????? ????????? ?????? ?????? ??? ??????? ??? ???? ??? ????????? ??????? ??? ???????? ????? ???????? ?? ????? ??? ???????? ??? ???? ??? ???? ??? ??? ??, ?? ?? ???, ??????? ???? ?? ?????? ??? ???? ???? ??????? ?????? ???, ???? ??? ???????? ?????? ???? ??? ??? ?????? ??? ?????, ??? ????? ??, ?? ???? (??????) ??? ???? ????? ?? ???? ????? ??? ????? ?? ????? ?? ??! ??? ?? ???? ?????? ?????? ?? ?? ??? ???? ??? ?????? ??? ? ????? ???? ???? ??? ??????? ??? ???? ?????? ??? ???? ??? (???? ????????)?

Verbatim by: Dr. Suranjita Paul

In this recording Jyoti Goho has referred to his Guru Pandit A.T.Kanan as Guruji – Editor

 

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

 

Performance, Patronisation, 1921-1947, Central

A concert at Eden Gardens to honor The Prince of Wales—A Narrative from 1921

Told by Sri Rantideb Maitra
Obtained by Rajeswary Ganguly Banerjee
Date 4th March,2017
Place Sri Rantideb Maitra’s Residence, Madur Daho, Kolkata
About the speaker Renowned Music Collector and Music Connoisseur
Tags 1921, Prince of Wales, Eden Garden, Principal  Raaga, Musician, Majid Khan, Binkar, Indore, Fida Hussain Khan, Sarod, Hafiz Ali Khan, Sur Sringar, Radhika pRasad Goswami, Gopeswar Bandopadhyay, Sur Bahar, Satya Kinkar Bandopadhyay, Nyas Taranag, Dhrupad, Kheyal, Sitar, Megh,  Bishnupur, Nizam , Maharaja of Gwalior, Maharaja of Baroda
Language English

Sri Rantideb Maitra speaks :

 

Text Version:

Prince of Wales during a tour in India 1921

In 1921, when Prince of Wales visited Calcutta, a presentation was made to him in Eden Gardens where the six principal Ragas were to be presented by six principle musicians at that point of time. So musicians were chosen from all over India. I think I can give you the names of the musicians from my memory. Mostly Majid Khan, Veenkar from Indore, Fida Hussain Khan, the Sarodiya, then Hafiz Ali Khan who played the Sur Sringar. Radhika Prasad Goswami sang Dhrupad, Gopeswar Bandyopadhyay, strangely he played Sur Bahar and Satya Kinkar Bandopadhyay again strangely he played Nyas Tarang.

You know what is Nyas Tarang?

Naak diye jeta…. Kali Prasanna Bandopadhyay…he was the last Nyas Tarang Player. (Played through Nose and Kali Prasanna Bandopadhyay was the last one to play Nyas Tarang).

Pt. Satya Kinkar Bandopadhyay

Satya Kinkar was Dhrupad singer, Khyal singer, Sitariya but he played Nyas Tarang. He played the raga Megh in Nyas Tarang. So these six Principal ragas, I don’t remember who played which raga  but I know he played Megh in Nyas Tarang.

So amazing that out of these six musicians, six best musicians in India, three were from Bengal and from the same gharana that is Vishnupur. We Bengalis forgotten about this but this is on record, this book is available somewhere. This book was published in honour of Prince of Wales. Lot of Rajas I mean Nijam was there, Gwalior Maharaja was there, Baroda Maharaja was there and everybody of note was there at the point of time….1921.

Verbatim by: Dr. Suranjita Paul

Picture Courtesy: Google

https://www.oldindianphotos.in/2014/10/prince-of-wales-edward-viii-during-tour.html

https://www.google.com/search?client=firefox-b-ab&biw=1366&bih=631&tbm=isch&sa=1&ei=bLoXW6yDJpD59QPZ4Y3oCQ&q=SatyaKinkar+Bandopadhyay&oq=SatyaKinkar+Bandopadhyay&gs_l=img.12…35722.35722.0.37498.1.1.0.0.0.0.120.120.0j1.1.0….0…1c.1.64.img..0.0.0….0.2mbMHELAlAg#imgrc=ISCawHcDPSTwxM:

Edited & Designed: Dr. Suranjita Paul

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

                 

1900-1920, Patronisation, North, Accompaniment, Teaching-Learning

The Tawaifs of Kolkata—An Old Kolkata Music-Tapestry

Told by Sri Rantideb Maitra
Obtained by Rajeswary Ganguly Banerjee
Date 4th March,2017
Place Sri Rantideb Moitro’s Residence, Madur Daho, Kolkata
About the speaker Renowned Music Collector and Music Connoisseur
Tags Tawaif, 1920’s, Baijis, Classical Singer, Malkajan, Gaharjan, Manoda Sundari, Krisnabhamini, Indubala, Angurbala, Sarengi, Accompanist, Bandish, Alladiya Khan, Ustad, Gouri Shankar Mishra, Vishmadev Chattopadhyay, Dhrupad, Khayal, Thumri, Aghor  Chakraborty, Gopeshwar Bandopadhyay, Satya Kinkar Bandopadhyay, Maharaja of Natore, Maharaja of lalgola, Maharaja of Panchokot, Jyotindra Mohan Tagore, Peara Saheb, Jadumoni, Sourindra Mohan Tagore, Kesarbai Kerkar, Alladiya Khan, Seth Dulichand, Shyamlal Khetri, Petron, Bombay
Language English

Sri Rantideb Maitra speaks :

Text version:

Malka Jaan

During the early part of 20th century, the Calcutta music scene was, at least the vocal music was dominated by Tawaifs and the Baijis, not that their male counter parts in the sense that the most popular classical singers of that point of time were all tawaifs, I mean you can name anybody,

 

Angurbala Devi

you can name Malkajan, you can name Gaharjan, you can name Manoda Sundari , Krisna Bhamini right up to Indubala, Angurbala,  and everyone, and they were much more popular than their counter parts.   Now where did they learn their music from? It’s a two way process, in some cases it was found that the tawaifs they themselves took fancy on some good looking male  musicians and taught them music, they mostly learnt from Sarengi players, because Sarengi players use to you know accompany so many artists all over India, and they use to pay the sarengiwalas as per the Bandishes, may be one sarengiwalas has played with  Alladiya Khan, and she liked the Bandish and maybe she will pay hundred rupees or fifty rupees or whatever it is, and sometimes they used to employ ustads themselves, and the terms of employment was, that ustad would you know  never teach any other ‘Baais’. So it is you know captive ustad.

Raja Jyotindra Mohan Tahgore

Like for example  ’Gauri Shankar Mishra’ was captive to ‘Gauhar jaan’ and ‘Gauhar jaan’ only allowed ’Gauri Shankar Mishra’ when she became  old and she moved away from Calcutta, at that point of time  ’Gauri Shankar Mishra’ teach ‘Indubala’ and even ‘Vishmadev Chattopadhyay’ and lot of people. But till such time  ‘Gauhar jaan’ did not release ’Gauri Shankar Mishra’, ’Gauri Shankar Mishra’ could only you know only teach ‘Gauhar jaan’ the Bandishes. Now in  the case of the ‘ Dhrupadiyas’ of Bengal the situation was different because they never learnt from any ‘Tawaifs’ because mostly the ‘Tawaifs’ sang ‘Khayal ’and ‘Thumri’, but not ‘Dhrupads’,

Gauhar Jan

and the ‘Dhrupadiya’ of Bengal like ‘Aghor Chakraborty’ ‘ Gopeshwar Bandopadhyay’ or ‘Satyakinkar Bandopadhyay’,  they avoided those class of musicians, not that they didn’t like them, they liked their music,  but they never you know,  they never imitated their style of music, and these ‘Tawaifs’ also, they were very eager to learn ‘Dhrupad’, but unfortunately their doors were shut to the middle class Bengali Brahmin ‘Dhrupad’ singers. So when, Maharaja Jyotindra Mohan Tagore, because Satyakinkar Babu  was a employed by lots of the Maharajas at that time, like Maharaja of Natore was there, Maharaja of Lalogola, Maharaja of Pachakot and eventually he became court musician of Maharaja Jyotindra Mohan Thakur after Piyara Saheb left the court of Jyotindra Mohan Tagore. But one of the terms of his contract with the Maharaja was that he will never urge him or force him or to teach any ‘Tawaif’ because all the zamindars and rajas, they had their favourite ‘Taawaifs’, whom they used to groom.

Raja Sourindra Mohan Tagore

Like take the case of Jadumoni who was groomed by  Shourindra Mohan Tagore, I mean even Kesarbai had one such, you know mentor, who paid for Kesarbai’s tuitions for Alladiya Khan. In the case of many ‘Tawaifs ‘ they were supported by many wealthy  patrons to learn music. But Satyakinkar Babu never you know, taught any ‘Tawaifs’ and that was one of terms of, I mean I gave you social picture of that time also. So in this context it is important.

Can we please have the name of that person, who patronised Kesarbai Kerkar?

Yah, it was Seth Dhulichand, I mean there were lot of patrons but one was Seth Dhulichand, was originally from Kolkata, then The Khetri, Shyamlala Khetri , their shop is still existing, khetri jewellers, Calcutta, bhawanipore, Punya Cinema, khetri jewellers, and there were other patrons from Bombay, I mean  I forget their names, but these two were definitely patron of Kesarbai from Bombay(Calcutta).

Verbatim by: Rajeswary Ganguly Banerjee

 Picture Courtesy: Google

https://www.saregama.com/artist/angurbala-devi_491/album

https://www.google.com/search?client=firefox-b&biw=1366&bih=631&tbm=isch&sa=1&ei=_bcXW76aBZferQGvz4u4Bg&q=Maharaja+Jyotindra+Mohan+Thakur+&oq=Maharaja+Jyotindra+Mohan+Thakur+&gs_l=img.12…81132.81132.0.82444.1.1.0.0.0.0.137.137.0j1.1.0….0…1c.2.64.img..0.0.0….0.lRzGC5g_II8#imgrc=e_ilMVTcC0uAXM:

https://www.google.com/search?client=firefox-b&biw=1366&bih=631&tbm=isch&sa=1&ei=3-A1W_3xKcHA0gT2o6SoDQ&q=gauharjan&oq=gauharjan&gs_l=img.3..0i10i24k1.4011.4604.0.5076.3.3.0.0.0.0.198.583.0j3.3.0….0…1c.1.64.img..0.3.578….0.ce_KKKtd9Hs#imgrc=1jHqNywIyy3aIM:

 

https://en.wikipedia.org/wiki/Sourindra_Mohun_Tagore

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

 

 

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

 

Raja Jyotindra Mohan Tahgore
1900-1920, Performance, Patronisation, North, Listening

The Pride of Music was Saved at The Royal Court—Remembering Sangeetacharya Satyakinkar Bandopadhyay

Told by Sri Rantideb Maitra
Obtained by Rajeswary Ganguly Banerjee
Date 4th March,2017
Place Sri Rantideb Moitro’s Residence, Madur Daho, Kolkata
About the speaker Renowned Music Collector and Music Connoisseur
Tags Satyakinkar Bandopadhyay, Faiyaz Khan, Jyotirindra Mohan Tagore, Pathuriaghata, Shourindra Mohan Tagore, Patronage, Tanpura, Pakhawaj, Court Singer, Maharaja of Gwalior, Nizam, Alap, Khayal, Saraswati
Language English

Sri Rantideb Maitra speaks :

Text version:

The first anecdote is about two  great musicians, one Sangeetacharyay Satyakinkar Bandopadhyay and The other Ustad Faiyaz Khan, and it happened  at the house of Maharaja Jyotindra Mohan Tagore at Pathuriaghata, The Grandson of Sourindra Mohun Tagore (?). I heard it from Sangeetacharyay Satyakinkar Bandopadhyay himself.

Sangeetacharya Satyakinkar Bandyopadhyay

He said that during that time of royal patronage The royal patrons always looked down on the musicians. In the sense that if they are singing they are expected to sing at a posture, sitting on the ground with tanpuras, pakhawaj, table whatever it is and The Rajas and The Maharajas used to sit in couch, and just listened to their  music from a elevated position.  He never liked that short of arrangement and once at the house of Jyotindra Mohan Tagore when he was a court singer, in fact Satyakinkar Bandopadhyay was a court singer to Jyotindra Mohan Tagore of Pathuriaghata.

Faiyez Khan and Satyakinkar Babu was suppose to sing in honor of The Maharaja of Gwalior and His Excellency Nizam who were visiting Jyotindra Mohan Tagore at that time and He arranged a musical evening of these two great masters

Ustad Faiyaz Khan

and The first artist was Faiyaz Khan, and he sang Alap and Khayal seating  on the ground and Nizam and Mahraja of Gwalior and Jyotindra Mohan Tagore they were just enjoying the music seating on the sofas. And when the turn came for Satyakinkar Babu to sing he just refused to sing. He said that I am not accustomed to sing in this manner because I am a worshiper  of Goddess Saraswati and I cannot bring her down to that level where Saraswati would be just, you know,  seating  beneath the feet of a mortal, so he also reprimanded  Faiyaz Khan Sahab, he said that he was such a great Ustad, he was such a great master of music, how he can you know, are you not proud enough of you know, of your music, and if you are proud of your music then how you can humiliate the muse of music in this fashion, you should never do this in future, you are quite rich, you can afford not to sing,  and he said that I can also afford not to sing and I  will not sing. So what happened, there was an altercation Jyotindra Mohan Tagore and Satyakinkar Babu and  to avoid any other,  you know untoward incidents or embarrassment  a makeshift arrangement was made, another spring sofa  was brought at par with the Maharajas and Satyakinkar Babu said that you know he used to , he sat on the sofa but unfortunately it was a spring sofa, during that time, and he was, his entire thing went down with the spring, with  his pakhawaj player and everything, and it was so uncomfortable, but he said at least you know the pride of  music was saved for that day. That was one incident which he told me. This period must 1927-28, during that time.

Verbatim by: Rajeswary Ganguly  Banerjee

Picture Courtesy: Google

http://archiveofindianmusic.in

https://www.google.co.in/search?client=firefox-b&biw=1366&bih=631&tbm=isch&sa=1&ei=jvgYW_TNGYLB0gT2naqYBA&q=Faiyaz+Khan+Sahab&oq=Faiyaz+Khan+Sahab&gs_l=img.12…338300.338300.0.341478.1.1.0.0.0.0.188.188.0j1.1.0….0…1c.2.64.img..0.0.0….0.i2dukrkSR9Q#imgrc=BYVKTehRKmWM_M:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
Performance, North, Listening, After 2000

A path breaking recital by Pandit Ulhas Kashalkar at The 75TH Birthday Celebration of Ustad Vilayat Khan

Told by Smt. Meena Banerjee
Obtained by Rajeswary Ganguly Banerjee
Date 21st February, 2017
Place Smt. Meena Banerjee’s residence , Rani Kuthi, Kolkata
About the speaker Renowned Music Critic, Musicologist and Music Connoisseur
Tags Ulhas Kashalkar, Vilayat Khan, 2003, Mahajati Sadan, Autobiography, Shankarlal Bhattacharya,  Raag, Raga, Sanjh  Saravali, swaravali, Yaman, Behag, Bihag, Hameer, Kamod, Thumri, Bhairavi, Jayanta Chatterjee, Amir Khan, Charhi Lay, Gwalior Gharana
Language Engllish, Hindi, Bengali

Meena Banerjee Speaks :

Text Version: 

This is about a very memorable recital of Pandit Ulhas Kashalkar Ji. He sang during this seventy fifth birthday celebration of Ustad Vilayat Khan Sahab. We were very excited, we went to Mahajati Sadan, and that evening the hall was absolutely packed. There was that official release of the Ustad’s autobiography in Bengali, penned by Sri Sankarlal Bhattacharjee. That also took place there and Ulhas Ji was suppose to sing.

 

Ustad Vilayat Khan

Prior to that Vilayat Khan sahib spoke about his connection with Kolkata, and that he wanted to come back to Kolkata, live here forever, so very emotional kind of beginning, then ulhas ji came and announced that he is going to sing a Raag composed by ustad Vilayat Khan Sahab, and he sang Sanjh Swaravali. It was fantastic, absolutely fantastic, where one experience that, now Yaman came and went away, and then face of Behug, absolutely chiseled Behug came and went away, then Hameer, Kamod, you name an evening melody and their pretty faces, they came and then like a moving, like audio visual, you could feel that they are coming and going away. That was there and then he concluded his recital in Thumri, stripped in spirituality- “ Tum ho jagat ke data” in Bhairavi. That was also composed by Ustadji,

Pandit Ulhas Kashalkar

Ustad Vilayat Khan, and let me tell you since then ulhasji’s style took a totally different turn. As I told you that this was the turning point of Ulhasji’s singing career, from where his singing style took a new turn, where lots of surging emotions, one could feel, that earlier his Raga delineation was absolutely very pristine and pure but there was not much of emotions, but suddenly it was so stripped in emotion that I was forced to think what was the force behind it, then I found out that he came very close to Ustad Vilayat Khan Sahab, thanks to Mr Jayanta Chatterjee of Sunny Towers, he is a well known music connoisseur, so Ustadji’s influence worked wonders with Ulhasji’s singing, and that is how we find the Ustad Amir Khan’s elements in his singing and that ‘Charhi Lay’ which was his forte earlier, became much slower than the usual Gwalior style, and in that he incorporated lot of emotive aspects.

Verbatim: Rajeswary Ganguly Banerjee

 

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

 

Performance, South, Teaching-Learning, Listening, 1975-2000, After 2000, Music Criticism

Young Artists who made a mark—Recalled by Smt Meena Banerjee

 

Told by Smt. Meena Banerjee
Obtained by Rajeswary Ganguly Banerjee
Date 21st February, 2017
Place Smt. Meena Banerjee’s residence , Rani Kuthi, Kolkata
About the speaker Renowned Music Critic, Musicologist and Music Connoisseur
Tags Artist, 1997, SRA, Academic Research Department, Scholars, Guru, Kaushiki Chakraborty, Arshad Ali Khan, Omkar Dadarkar , Wednesday Recital
Language Engllish

Meena Banerjee Speaks :

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University
Performance, Teaching-Learning, South, 1921-1947

AIR acceptance and broadcast even before beginning of music training!—Unstoppable Pt. A. Kanan

Told by Jyoti Goho
Obtained by Suranjita Paul
Date 21st February 2017
Place ITC Sangeet Research Academy, 1, Netaji Subhash Chandra Bose Road, Tollygunge, Kolkata – 700040
About the speaker Jyoti Goho is a well-known Harmonium Player of Indian Classical Music. He is a Musician-Faculty in ITC Sangeet Research Academy, Kolkata.
Tags Cricket match, Players, Guruji, Malkauns, Radio Station, Akashvani Bombay, Voice test, Recording, Staff, Allarakha Khan, Hamid Hussain, Station Director, Tabla, Sarangi, Sam, Stage, Microphone, Scale, Abdul Karim Khan, Pitch, F#, Bandish, Programme, Contact Form, Raag, Teacher
Language Bengali

Jyoti Goho speaks:

Text version

???? ??? ??????? ????? ????? ?????, ??????? ??????? ????????? ???? ???? ??? ????? ???? ???? ??????? ??????? ?????? ????? ???? ???? ???? ??????? ????? ???????? ??? ???? ????? ?????? ?? ???? ??? ???????? ??????? ??? ?? ?? ??? ?? ???? ??????? ???? ?????? ???? ????? ???? ????? ????? ???? ???? ??? ???? ????? ??? ??? ???? ????? ???? ?????? ?? ??? ??? ??? ?? ???? ????! (??????) ????? ????? ??? ???? ???, ??? ?? ???? ???? ???? ??? ???? ????? ???? ???? ??? ??? ??? ?? ???? ???? ?? ??? ?? ???? ?? ???? ?? ?? ???? ???? ???? ?? ??? ????? ?? ??????? ??? ???????, ???? ???? ????? ??? ?? ?????? ????? ??? ??? ????? ?????? ???? ?? ??????? ?????? ????? ??? ???, ?????? ??????? ??? ???, ?????? ???? ???? ????????? ?????? ?? ???? ????? ?? ??? ??? ?????????? ???? ?????? ??? ???, ?????? ???? ?? ??? ??? ????

      Ustad Hamid Hussain Khan

??? ???? ????? ???? ???????? ?????? ??? ?? ?????? ?? ???,?????? ???? ????? ?????, ?? ???? ???? ???, ??? ????? ????? ????????? ??? ????? ????, ????? ?? ?? ??????? ?? ???????????? ????? ????? ????? ?????? ????? ?? ?????? ????? ?????? ????????, ?? ????? ??? ???? ???? ?? ??????? ?? ????? ???? ???????? ?????? ???????? ???? ?? ???? ?? ?????? ??? ?? ???? ?????? ?? ???? ???? ???? ????? ??????? ???? ????????? ??? ????? ?? ????? ????? ???? ???? ???? ??????? ???? ????, ???? ???? ?? ??? ??? ?? ?? ??? ?????? ?????? ???????? ??? ???? ?????? ??? ????? ????? ????? ??? ??? ????? ??? ??? ???? ?? ????? ???? ??????? ??????, ?????? ??? ?? ?????????? ?? ???? ?????? ???, ??? ???? ??, ????? ?????? ??? ?? ????? ?????? ???? ??? ?????? ?????? ??????????, ?? ?????? ?? ???? ????? ??? ???? ???????????? ????? ??? ???????, ????? ???? ??? ???? ??? ??? ???? ???????????? ???? ???? ?????? ?? ?????? ?????? ?????? ?? ?? ???? ??? ??? ????? ????? ??? ?????? ?? ????????? ?? ????? ?????? ??????? ?????? ?????? ?? ??? ??? ???? ??? ??? ???? ???? ???? ???? ??? ???? ?? ????? ??? ??????, ???? ??  ????? ???? ??? ??? ?? ?? ?????-? (F#)??? ???????? ??? ?? ?????-??? ???, ????? ?? (Pitch) ???? ???? ??? ?? ??????? ????? ??? ??, ?? ?? ?????-??? ????? ??? ??? ??? ?? ???? ????? ????? ??? ????? ????? ???? ?? ??? ?? ???? ?????, ??? ????? ???? ???? ?????? ???? ?????? ????? ?? ????? ???? ???, ???? ???? ???? ??, ???? ???? ??? ????????? ??? ????? ???? ?????? ?????, ?????? ????? ?? ?? ?? ?? ??? ????? ??? ????? ????? ??, ????? ??? ????? ??? ?? ????????? ??? ?????? ??? ??? ??? ???, ??????? ?? ???? ?? ???? ???? ?? ??? ???? ???? ????????? ????? ????? ?????? ?? ?? ??? ?? ????? ???? ????????? ?????? ?? ????????? ?? ???? ??? ??? ???????? ??????, ?? ???????? ?? ?? ??? ????? ??? ?? ??, ???? ????? ?? ????? ??, ?? ?????? ???? ????????? ??????? ???? ????? ?????? ?? ???? ?? ????? ?? ???? ??? ????? ?? ??? ???? ???? ??? ???

?????? ???????? ????? ???? ???? ?? ??? ????, ??? ???? ????????? ???? ???? ???????????????? ???? ??? ?? ???? ???????? ????? ?? ????????? ???? ???? ???? ???? ??? ?? ??? ??? ???? ?????? ??????? ?????? ??? ??? ????? ??? ??????, ??? ?? ???? ?? ??????? ??? ????? ???? ??? ?????? ?? ???? ?????? ????? ?? ?? ?? ?? ????? ??? ?? ???, ????? ??? ??, ????? ??? ??, ??? ???? ??? ??…??? ??? ???? ?? ?????? ?????? ???? ?? ????????? ??? ????? ?? ????? ????? ??? ????? ?? ???? ???? ?? ???? ??? ???? ????? ?????? ???, ???? ????? ?? ???? ??? ??? ?????? ? ?? ?????? ?? ??? ?????? ?? ???? ?????? ?????? ?? ??? ??? ??? ???? ????? ?? ?????? ??? ?????? ?????  ????   ???? ????? ??????, ?? ??? ????? ???? ??? ????, ??? ????? ????? ??????? ???? ??? ????, ???? ???? ??? ??????? ???? ????? ???? ????? ??? ???? ????? ??? ???? ???? ???? ???? ???? ?? ???????? ????? ????? ??? ??? ???? ?? ???? ????? ????????? ??? ????   ????? ??? ?????? ???????? ????? ??????? ???? ??? ????? ?? ?? ?? ????? ?? ??? ??? ????? ??? ??? ??? ???? ?? ??????? ??? ????? ???? ????? ??? ????? ??? ????, ?????, ??????? ??? ??? ???? ?? ?????????? ?????, ??? ??? ???? ?? ???? ??? ???? ???? ?????? ??? ?? ???? ???? ??? ??? ??????? ??? ????????, ????? ????? ???? ????? ????? ????? ????? ?????????? ???????? ???? ???? ????? ???? ???? ????? ?????? ?? ???, ??????? ??????? ???? ??????? ??? ????? ???? ???? ????? ????? ????? ??? (?????)??? ???

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

Verbatim by: Dr. Suranjita Paul

 Translation:

The next day he went to play a cricket match and played all day. In the evening all the colleagues who had gone to play were on their way back together in a bus. When the bus was crossing AkashvaniBhavan, he noticed that Akashvani Bombay was written in large letters. The moment he noticed that, he asked his colleagues to stop the bus and accompany him inside where he wanted to do a voice test. His colleagues were astonished and said “What! You! Gurujiwas very calm. He asked his friends “Yes, I want to do. Why don’t you come with me? I want to do a voice test.”

However his friends were little bit puzzled. They anxiously said “We didn’t know that you sing. And if you go inside you’ll get beaten up, and you’ll get us beaten up too. We can’t go.” So Guruji said, “Okay, let me off the bus.” Guruji had always been a brave man, he was a sportsman. He was brave, but he was also curious to find out how his voice would sound. They let him off the bus and drove off.

         Ustad Allarakha Khan

He went straight inside. In those days, there wouldn’t be many recordings, so it used to be empty in the evening. AllaRakha Khan sahib, who was a staff of Akashvani Bombay, along with the sarengi player Hamid Hussaid, and the Station Director were sitting together in a room and drinking tea. When he appeared at the doorway, the Station Director asked, “What do you want?” And Guruji gave him the same answer. He said, “I want to do a voice test.” AllaRakha Khan sahib and Hamid Hussain laughed, because it was an unusual occurrence. But the Station Director was very enthusiastic about it and he said, “Okay, Okay, I’ll see what can be done.” He went to the next room and asked the technicians to set everything up. In those days microphones were needed to be fixed before the recording, it couldn’t be used straightaway as it can be now. The technicians came and set everything up. Then he asked Guruji to sit in front of the microphone and sing. The sarengi player asked for his scale. Guruji replied, “I don’t know.” So he said, “Then how will I play? I have to choose the right scale.” Then Guruji said, “I’ll sing the tune, you can figure it out from that.” At that time, Abdul Karim Khan used to sing in F#. If he sang without any accompaniments in F#, the pitch wouldn’t be correct. But when he sang, it sounded like he was singing in F#. So Hamid Hussain Khan sahib said, “Oh! You will sing in such a high pitch? But this is the pitch that Abdul Karim Khan sings in.” To this, Guruji said, “Yes, this is me.” That is all he said.

When AllaRakha Khan was about to start playing the tabla, Guruji said, “No, no, I won’t be able to sing with that.” He had no sense of rhythm. But Khan sahib said in Hindi, “No, no, you sing. I’ll keep pace with you.” That is, he would adjust. Anyway, Maalkosh was the first song he had heard, so he sang as much of the bandish as he could remember. He sang for one and a half minutes or so. He was never been in a classical music before the first concert that he had heard with his father. He said, “I won’t be able to sing any more. I’m done.” They didn’t say anything either.

The Station Director said, “You sit here, I’ll be back.” When he returned, he had a contract form with him. He said, “Take this contract form home. After three months, you’ll have to sing three times for the radio in one day.” In those days there would be live broadcast of three ragas, each for half an hour.” Guruji was frightened. He said, “No no, I didn’t come here to sing, I don’t want to sing, I don’t want to sing, it was just my voice….” And they were saying, “No, you must sing.” AllaRakha sahib and Hamid Hussain sahib said, “You go home and tell your father that we have said that you have to sing.” They thought that since he had such a great voice, he would sing. Guruji couldn’t understand anything, and they were very insistent.

He came and told his father about the contract form and his father was very surprised because he wasn’t aware of the fact that his son could sing. So he said, “Is that so? Did you sing for them?” And he said, “Yes, a little bit.” So he took him to the music room and said, “Sing me what you sang for them.” So he repeated the performance. That was the first time his father felt that he had music in him. But in three months’ time he would have to sing three ragas for half an hour each. He needed to prepare. It would be very difficult. He would have to sing three ragas for morning, noon, and night. Then his father had a brainwave. He appointed three teachers for the three different ragas so that the student wouldn’t confuse one raga with the other, because he had shortage of time to manage all the three ragas. Then he did sing for the radio after three months.

So this is something we have heard from him, we had asked him, “Guruji, how did you feel during your first recording?” He had replied, “Twenty minutes after I sang, I felt like I had nothing left. Like everything was over. Then it felt like e repetition, because how much could one do in so little time.” Anyway, he did sing, that is how he began to learn, or maybe it was the beginning of his desire to learn, and then he recorded his first song for the radio.

 Translated by:Sarbajaya Bhattacharya

Picture Courtesy: Google

http://elvispelvis.com/ustadallarakha.htm

https://www.discogs.com/artist/3767817-Ustad-Hamid-Hussain-Khan

Edited & Designed: Dr.Suranjita Paul

Place tag has been kept ‘Kolkata-South’ as Pt. A. Kanan spent most part of his life in southern part of Kolkata – Editor

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University
Performance, North, 1948-1960, Music Criticism

The Performance Debut of Pandit Arun Bhaduri In Kolkata

Told by Ms Sarmistha Bhattacharyya
Obtained by Rajeswary Ganguly Banerjee
Date 13th January, 2016
Place S.A.P. Lab, Instrumental Department, Rabindra Bharati University, B.T. Road Campus.
About the speaker Music Critic
Tags 1960, Arun Bhaduri, Abu Daud, Dawud, Jhankar Music Circle, Dixon Lane, Puriya Dhaneshree, Puriya, Guru, Performance, Music Review, Vishmadev Chattopadhyay, Gyan Gosai, Gyanendra Prasad Goswami, Jnanendra Prasad Goswami
Language Bengali

Ms Sarmistha Bhattacharyya Speaks :

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