The well-known sitar player Sanjoy Guha is now serving as a faculty member at the Bharatiya Vidya Bhavan, London. He learnt music from a number of highly reputed musicians including Pt. Radhika Mohan Moitra, Pt. Deepak Chaudhury and Vidwan M. Balamurali Krishna.
Tags
Montu Banerjee, Harmonium, Vilayat Khan, Sitar, Taan, Chaupalli, Choupalli Anga, Jnan Prakash Ghosh, Mahajati Sadan, Amir Hussain Khan, Chhanda, Sanjay Mukherjee, Anindo Chatterjee.
Mantu Banerjee, the renowned harmonium player. Mantu babu lived right next door to us. I was very close to him; he used to call me Nati (grandson in Bengali). He used to say, “Come, let’s go for an early morning walk.” When he walked home in the evening and found me playing or doing something else, he would ask me whether or not I had practiced my instrument that day. Then he would say, “No, no, no, you should play as well .
Ustad Vilayat Khan
” Immediately, he would reminisce about Ustad Bilayet Khan, who, while living at his house, would play carrom till late in the evening, say till 9:30 to 10 pm. And then he would start his practise, which would often go on the entire night. He would say that games and sports were very important too. So that was an experience I had of him. Another thing I noticed was that, Mantu babu always performed with a lot of force and energy. One day he told me “Come, play your sitar for me. Im getting old now, I don’t know if I would be able to hear you play later in life.” He asked my uncle to bring my sitar. Back then, I could only play memorised music. So, when he asked me to play a certain Taan again, though I couldn’t recall it clearly. Then, he said to my uncle, “This is of Chaupalli in origin. It is similar to a Chaupalli composed by Amir Hussain Khan.” He said the bole out aloud, as if recalling it from his memory: ta kita dhe ke ta, ta kita dhe ke ta. Later my uncle said, “My brother learned it from Gyan babu, the composition, which is why the taan was made into that rhythm.”
“Wow”
I had also been there to listen to him playing. At Mahajati Sadan, when Sanjay Da was also there, along with Anindya Da was also there. And he would play with such ease… It was nothing for him to play in front of those people. Those were a different kind of experience altogether.
Very Good.
Translated by: Ankana Das
Picture Courtesy: Sri Kamalakksha Mukhopadhay, Eminent Harmonium Artist and Google
This was in 1940-41. By that time Baba (Pandit Jamini nath Ganguly) had made quite a name for himself as a vocalist and pedagogue in musical circles. He performed at many places and on the radio too. Let me tell you an amusing incident relating to radio. At that time sometimes it so happened that someone had known or heard a man ( or a woman, rarely ) sing well and made him sit in front of the microphone and sing. No recording, a direct broadcast.
Shailendra nath Chattopadhyay, a Gurubhai of my father, was to sing on the radio. Father and Girijababu (Pt.Girija Shankar Chakraborty ) were present too. Two minutes before the programme went on air, Shailenbabu was seated before the mike. He was singing Malkauns. Father remembered that for some unknown reason, he had confused the “Ma” with the ‘Sa’.
Pt. Girija Shankar Chakraborty
He took the madhyam as the Shadaj and began singing Malkauns. Girijababu was standing beside him, father some distance away. Girijababu was pretty much annoyed at this – “How can he go to the higher notes, to the ‘Tara’?” He noticed that Shailenbabu was singing everything between the Mandra Saptak and Madhya Saptak. He had difficulty in reaching the Tar Saptak, naturally. So Girijababu told Baba gently – “Go and fix the problem.” Baba reminisced, “I ran to him, moved him away holding him by his shoulder and put my mouth before the microphone and continued the song by taking the Shadaj at the right scale.”
Incidents like these seem unimaginable and fantastic to us now.
The seventh session of the All-Bengal Music Conference sits on board the First Empire on and from Sunday the 29th December next and lasts till Wednesday the 1st January – 1941. There will be in all eight sittings.
The following famous artists will demonstrate classical music and dance at the Conference: –
Khan Saheb Mustaque Hossain Khan of Rampur State, the famous Kheyaliya who belongs to the Gharowana (School) of Enayet Hossain of Rampur.
Pandit Omkarnath Thakur, Sangit-Martanda of the School of Late Pandit Vishnu Digambar, (Kheyal and Bhajan).
Khan Saheb Golam Ali Khan, famous Kheyaliya and son of Ali Bux of Lahore.
Srimati Hirabai Barodekar, a disciple of the late Khan Saheb Abdul Karim Khan of Bombay, (Khayal and Thumri).
Srimati Saraswati Bai of Bombay (Kheyal).
Khan Saheb Ziauddin, son of Taksuddin Khan brother of Late Ustad Alabande Khan (Dhrupad and Alap).
Khan Saheb Bhai Lal Muhammad Rababi, a disciple of famous Hindu musician Bhaskar Rao.
Magan Lal, a disciple of Lachmi Narayan, of Panchgachia, Bhagalpur.
Vilayatoo’s Sahnai Party of Benares.
Anokhelal of Benares (Tabla).
Miss Menaka Bai of Bombay, (Dance).
Master Madan, 14 – year – old musician of Delhi Radio.
Sundaram Aiyar, renowened violinist of Madras.
Hiralal, famous dancer of Jaipur.
Khan Saheb Samsuddin of Bombay, (Tabla).
Some of the famous Calcutta musicians will also demonstrate.
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Source:
“Amrita Bazar Patrika [Daily]. Vol: 72; Issue:355 (25 December 1940).” Accessed December 16, 2016. http://eap.bl.uk/database/large_image.a4d?digrec=4266590;catid=226947;r=26962.
Identified by Rajeswary Ganguly Banerjee, Research Fellow
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
Guru Murarimohan left his earthly body on 1904. Durlabha Chandra started organizing a concert named MurariSammelan on memory of his Guruji from next year. Since 34 years this annual concert used to run smoothly. Not only artists from Kolkata but also artists from Bishnupur, Murshidabad and all over India had come and participated in the concert. After Murari Sammelan annual Shankar Utsav began. That concert used to take place for all night on the occasion of Shiv Ratri at Radhanath Mallick Lane. After then Lalchand Utsav started from 1928. However After the sad demise of Durlabha Chandra, things started falling apart in Murari Sammelan. The way the life of Mridanga expert Durlabha Chandra was wondrous similarly his death was quite absurd that took place at Pathuriaghata in the house of Bhupendra nath Ghosh, a passionate music lover of and founder of All Bengal Music Conference. The date was 24thAshwin 1938. There was a baithak at the Bhupendra nath Ghosh’s place. All famous artists of India had gathered at his place. Great pakhawaj player Shankar Rao Ustad, BrajendraKishor, Gour Chandra Ghosh, Dhrupadiya Gopal Chandra Bandhapadhyay, Girija Shankar Chakraborty, Ayodhya Ram Pathak and also the Maharaja of Nator, Jogindranath Ray and PanditDurlabh Chandra. People were really happy and excited to see Mridangacharya Dulibabu. There were also many young music lovers who had heard the name and greatness of Durlabh Chandra but never seen him performing. Many among them requested Durlabh Chandra to play. His fingers were restless but his disciples did not agree.
Radhika Prasad Goswami
Young vocalist Lalit Mohan Mukhopadhyay started his alaap in the middle of the night. Dhrupadiya Lalit was an acclaimed disciple of Radhika Prasad Goswami and son of Mohim Chandra Mukhopadhyay. Lalit started with Miya-ki- Malhar – ‘He Adi Anth’, the favourite raga of Ustad Mir Mohammad Gaji MiyaTansenji. Durlabh Chandra could not hold himself back anymore. He snatched the pakhawaj from his disciple’s hand.Pakhawaj started speaking getting touch of the known hands “Dha”. A joy wave covered from one edge to another edge. Just like raga, so is the singer, so is the player. Mridang started running after the singer initiating the bol in choutal. The tihai was hugged with fast rhythm steeped in ankles.
Nobody knew and no one had noticed that the raging sensation of the Brahmin’s nerves, which started in the rush is not of the Mallhar rather of Deepak. The veins of the old are beginning to burst. Lalitbabu took the blessings of the old Durlabh and said – “Today my birth is successful.”The oldman Durlabha Chandra blessed Lalit raising both the hands. The old man held his hands and whispered in his ears – “Do you know a secret? You did it. Lalit, you did it.” His eyes were filled with tears. Then he joined his hands and said – “ Then bless me , grant my last wish”.
Durlabha – “ Say, say, what do you want? Today I am Karna”
Lalit – “ I will sing DarbariKaanda. And you have to accompany me.”
He pulled up the laid down pakhawaj. Again, the genius of the genre ranges to conform to the harpist. All the listeners submerged with the melody .Then began DarbariKaanda on Sur fankTaal with the moods of Ustad – “ BajatoJhajMridang”. The blue veined hands raised bols newly in the mridang. The music is fast ranging from peak to peak. The seven swaras are chirping like seven pet birds. He was playing melodious and had become bundled. Suddenly, the ones who were sitting at the side of the front rows started noticing that Durlabha Chandra was playing only with his left hand, his right hand had become still. That was quite absurd. None of them had ever dreamt that the right side of his body was completely devastated by the cruel attack of paralysis. He was tolerating a severe pain with all his body. The wise Brahmin cannot be defeated, so that he takes on the necklace of the suralakshmi, so that the physical pain is neglected by one and the other. He kept continuing the thekain one hand. Suddenly, it was noticed by the vocalist, he said – “ What’s this?” . At the next moment, he collapsed and as if Mridangacharya was offering his last prayer to the Goddess of Music. Coronary Thrombosis affected his last breath. Such death is desirable for music preachers. Such death makes an artist mortal. What is the greater honour any artist can ask?
The Sunday | Amrita Bazar Patrika | December 29, 1940
All Bengal Music Conference
SITS TO-DAY
A Galaxy Famous Artists To Participate
Ustad Mustaqu Hossain Khan of Rampur state and Ustad Bhailal Muhammad Rababi of Amritsar, two of India’s foremost classical vocal musicians will demonstrate To-day at All Bengal Music Conference which opens session this morning at 9.30 A.M. at The First Empire Theatre board. In the unavoidable absence of President of the committee, Maharaja Jogindranath Roy of Natore, owing to illness, Sir Manmotho Nath Mukherjee will preside, while Kumar Prasad Garga of Mahissadal will deliver address as Chairman of the Reception Committee. The Conference will continue for four days.
The Hony General Secretary Sj. Bhupendra Krishna Ghose will also be absent as he is physically bedridden being down with serious illness. His report will be presented by Sj. Sital Chandra Bose, one of the departmental secretaries.
Mr Radhika Mohan Moitra, the well known sworodiya and a disciple of Late Ustad Amir Khan will act as director of programme.
The conference will held two sittings daily – Morning at 9.30 A.M. and Evening at 5.30 P.M.
Among other famous artists who will demonstrate at the eight sittings of the conference will be Ustad Ghulam Ali Khan of Lahore (Kheyal), Srimati Hirabai Barodekar of Bombay (Kheyal and Thumri), Pandit Onkarnath Thakur of Bombay, Srimati Menaka bai Shirodkar of Bombay (Dance and Kheyal), Master Madan of Keonthol state (Kheyal), Bilatu’s Sanai Party oh Benaras, Ustad Ziauddin Khan of Udaipur state and Prof. Mainuddin Khan son of Late Ustad Nasiruddin Khan of Indore (Dhrupad), Pt.Ramesh Ch. Thakur of Bombay (Tabla Tarang ), Prof. Ali AKBAR Khan son of Prof. Alauddin Khan (Swarode), Prof. Anokhelal of Benaras (Tabla Lahra), Prof. Asfaque Hussain Khan of Surgana state (Kheyal), Prof. Sundaram Iyer of Madras University (Violin), Prof. Ramanuj Iyengar of Madras (Veen), Pt.Maganlal of Panchgachiya Raj (Kheyal), Srimati Saraswati Bai of Bombay (Kheyal), Prof. Nagesh Rao of Bombay (Kheyal), Prof. Ameer Khan of Indore (Kheyal) etc…etc.
TO-DAY’S PROGRAMME
First Sitting – Morning – 9 a.m : 1. Mangalachran – Pandit Srinath Samadhyayee 2. Opening Song – “Bandemataram” by Bijan Bala Ghosh Dastidar: 3. Welcome Address by The Chairman of the Reception Committee; 4. Speeches; 5. Presidential Address; 6. Formal Opening of the Conference.
Second Sitting – Evening -5.30 P.M. – Demonstrations by Competitors.
Demonstrations by Musicians – Dhrupad Gopeswar Banerjee; Setar – Prof. Ziauddin Khan (Udaypur State); Dhrupad – Ramchanda Bhatt( Benares); Kheyal – Jatadhari Jha (Darbhangha); Tappa – Kalipada Pathak; Dukkar – Prof. Nasir Khan (Punjab); Kheyal – Ostad Bhailal Muhammad Rababi (Amritsar); Setar – Sj. Bimala Kanto Roychowdhury; Dance – Sm. Menka Bai Shirodkar (Bombay); Sursringar – Birendra K. Roychaudhury; Dhrupad – K.C.Dey; Kheyal – Jnan Goswami; Tabla Lahra – Keramat Khan; Kheyal – Pt . Maghanlal of Panchgachia Raj; – Kheyal and Thumri – Saraswati Bai.
PRIZE DISTRIBUTION TO COMPETITORS
The prize distribution ceremony of the music conference was held on Thursday evening (Dec 25) at the University Institute Hall. The old veteran musician Sj. Gopal Chandra Banerjee presided and Kumar Deba Prasad Garga gave away the prizes in the shape of medals, certificates, running cups and trophies to 130 female and 89 male successful competitors, the total number being 219 out of 638 competitors. The competitors and those present were treated to refreshments.
After a vote of thanks moved by Mr. D. D. Khanna, Treasurer of the conference, the function came to a close.
Identified by Rajeswary Ganguly Banerjee, Research Fellow
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
70 7&8 Nirala Apartment, Boral. Kolkata -700154 at the residence of Arup Chattopadhyay
About the speaker
Arup Chattopadhyay is a renowned Tabla Player of India and abroad. He is the son of famous Tabla player Pandit Pankaj Chattopadhyay. He is the disciple of Tabla maestro Pandit Sankar Ghosh of Farukkhabad Gharana.
Tags
Nayan Ghosh, Sitar Player, Tabla Player, Debojyoti Bose, Sarod, Alok Lahiri, Chandannagar, Sangeet Research Academy, Bombay, Pune, Nasik, Buddhadev Das Gupta, Madhusudan Manch, Arun, Tarak Saha, Samar Saha.
Language
Bengali
Arup Chattopadhyay speaks:
Metadata generated by Suranjita Paul
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
70 7&8 Nirala Apartment, Boral. Kolkata -700154 at the residence of Arup Chattopadhyay
About the speaker
Arup Chattopadhyay is a renowned Tabla Player and a globetrotting musician. He is a prime disciple of the tabla legend Pt. Shankar Ghosh.
Tags
Rajib Chakraborty, Ravi Chakraborty, Chandannagar, 1979, 1980, Shyamadas Chakraborty, Kalighat, Moor Avenue, 1984, Rabindra Sadan, Academy of Fine Arts, Institute of Indian Culture, London, Ravi Shankar
