Category Archives: #Press Reports

NEW BROADCASTING HOUSE AT CALCUTTA | December 04, 1940 Amrita Bazar Patrika

AMRITA BAZAR PATRIKA | Wednesday, December 4, 1940 |

Page 10


Wednesday, December 4, 1940 | Page 10


[By R. L. SURI, Deputy Installation Engineer, All – India Radio]

I wonder if listeners in Bengal and elsewhere have recently observed an improvement in the quality of programmes from the Calcutta Station All- India Radio. Calcutta’s Broadcasting House, which is been officially opened by H. E. the Governor of Bengal on December 3rd now has six new air-conditioned Studios with modern acoustic treatment and new technical equipment; The modifications have been carried out by The Installation Department of All-India Radio and have taken nine months to complete.

Old Radio Station at Garstin Place

To describe these studios, let me for a moment transports you in imagination to the building at NO 1, Garstin Place. It is the same building   which has previously been occupied but with the difference that the ground floor has also been taken over due to the increased accommodation required for more Studios and offices. We enter the premises and pass into the Reception Hall through the entrance door right under the porch with the ‘A. I. R.’ monogram moulded on it. The Control Room is on the left containing all the necessary technical equipment for controlling the Studios and programmes. We are now facing a large double swing door which opens into the corridor with Studio No 1. (To- Drama) on the left and Studio No 2  (for Indian Music) on the right. The swing door opposite opens into a lounge with Studio No 3 (For Talks) on the right and Studio No. 4 (For Dramatic Control) on the left. The third swing door opposite takes us into a passage and we face the waiting room, with the rehearsal rooms on its right and left. Studio No.5 (For European Music).Studio No. 6 (Second Dramatic Control) and Sound effects room are situated on the first floor. The offices are located partly on the first floor and partly on the second floor.

Why have we so Studios? Firstly because experience has proved the necessity of using different Studios with widely different acoustic conditions for various types of programmes in order to achieve the best possible result. For example, a small but comfortable Studio with little reverberation is just what is desired for Talks while we need a much larger capacity to accommodate two score musicians for an orchestral item. Certainly it will be appreciated as explained latter that for plays more than one Studio has to be engaged. In addition there are at times to progrrammes in broadcast simultaneously involving the use of at least two Studios. Another reason is that some of the programs have to be rehearsed several times, which keep the studios occupied for most of the time.


It will be appreciated that any extraneous noises developed outside the Studios, if allowed to enter the Studio affect the sensitive microphone and tend to interfere with the programme originating from it. This is more true of programmes of the nature of solos, news and talks, for this reason a minimum number of entrances is aimed at. All openings likely to affect leakage of sound are blocked or treated so as to provide sufficient insulation. Each of the Studios has a single entrance only which is a specially designed sound proof door about 5 inches thick. Extraneous noises, which were previously a source of great trouble at the Calcutta Station, have now been completely eliminated.


After attending to the sound insulation work we commence with the preparation of the walls to take on the acoustic treatment. But someone asks, why have an acoustic treatment in the studios? Can’t we do without it? Let us go into a large and empty room and allow someone to speak at one end and while we listen at the other end. When he speaks one word at a time we probably can make out what he says about but we do notice that the sound of that word persists for some appreciable length of time owing to reflection and re-reflection from hard surface till it entirely dies away. But we can’t make out what the speaker says if he utters a few words following one another, as he would do in his ordinary course of speech. What is the reason? Obviously it is due to the overlap of one sound on other. The reflection of the first sound and the direct sound of the second have reached the ear simultaneously  and have formed a jumble of words so that our ear is unable to interpret them .The root cause  of this trouble is the persistence of the sound in the room. An engineer calls it ‘Reverberation’ and the time taken by any sound to die away to one millionth of its original strength is termed the ‘Time of Reverberation’ of that room. This varies at different frequencies. The object of acoustic treatment is to use a certain quality and quantity of an absorbing material so as to absorb the sound and thereby reduce the reverberation period to an optimum value. This depends on the size of the room or studio and the purpose to which it is to be put—music or speech. Methods of acoustic treatment are varied in nature although all aim at achieving the best results. In order to investigate this problem various experiments were carried out in an experimental studio at Delhi and the present method of acoustical treatment employing “building board” was evolved which at the same time gives the room a satisfactory appearance. Every one of the studios is tastefully decorated by means of groove cut designed in the building board. The decoration scheme is different in every Studio which lends individuality and a very modern appearance. All Studios have false ceilings which are also acoustically treated. Three are zig-zag in shape so as to allow uniform diffusion of sound in the Studio, as well as to avoid inter-reflection between the floor and the ceiling. These also greatly enhance the internal appearance.


All the Studios, being hermetically sealed require forced air circulation and ventilation. The new Calcutta Studios also have the advantage of air-conditioning. Each Studio according to size contains one or two ‘air-conditioners’ (or cooling units) comparing cooling cools, a fan and a thermostat. The refrigerant (methyl chloride) is drawn in and returned to the plant. Room in pipes: The plant room contains a compressor with driving motor, condenser shut off valves for liquid and gas lines, the main switch board for starting and stopping the compressor motor and air-conditioning units in all the studios. Fresh air is let into the air-conditioners through special ducts to avoid transmission of outside noises. The air exhausted out through special ducts let into the walls. Both outlets and inlets with absorbing material for suppression of noise. The air is maintained automatically as described temperature by means of thermostats incorporated in each of the air conditioners in the Studios.


The electric installation of the whole building has been renewed. The lighting scheme in all Studios except one is indirect by means of bowl sittings. The one exception is the Indian Music Studio which has tubular or architectural fittings fixed on the ceiling. The Studio corridor and lounge also have the same types of fittings fixed on to the ceilings.


Let me now show you round the Control Room. The speech control equipment installed in it is assembled in two racks. Several modifications have been carried out in equipment to obtain the maximum operation facilities and to allow easy and prompt checking in the event of break down.

The present arrangement allows transmission of two programmes (one on the abort wave and second on the medium wave) and two auditions to be carried out simultaneously. Two separate ‘mixing’ or Control positions are provided—one for short wave and one for the medium wave. Sound picked up by microphone in the Studio is amplified by about a million times in the Control, Room before they are sent to Transmitters at Cossipur by underground cable.

Four 25 watt bridging amplifier are mounted in the third rack and are employed for feeding the loud speaker circuits for monitoring, audition and ‘talk back’ purposes. All the Studios, Control Room and six offices have been equipped with loud speakers to enable the staff to listen to any of the four channels. The loud-speakers in the Studios are for ‘talk back’ purposes. Any unengaged Studio, however, can be used as a listening room and audition can be listened to.


One of the special technical features provided for this Station is Dramatic Control Panel .A Dramatic Control Panel comprises six channels or faders connected thus: one to the announcer’s microphone for the producers of the drama, one to each one to each of the two gramo-reproducers installed on one side of the table, one of the sound effect room and two of the remaining to two Studios—ONE being adjacent to the Dramatic Control Studio and the second on the other floor. For each of the programme source outside this room and associated with its ‘fader’ is a key which enables the  producer to flick a cue light installed in that particular Studio for the ‘alert’  or ‘stop’ signal. There is a similar key in the Studio to flick a light in the D.C. Panel room. Now as to its utility. It may first be mentioned that there are certain types of feature programmes which need the use of more than one Studios. Previously such programmes constituting music, song [Solos as well Chorus ], Conversations and sound effects were all performed and managed in one single medium-sized room. In certain plays broadcast on Fridayas from this Station. I have seen as many as fifty people featured in it. In addition to the congestion involved which affected adversity the performance of some artists.    It retained a tremendous efforts and strain on the part of the producer to convey the desired atmosphere and effect that he had visualised. In order to overcome these difficulties and to co-ordinate various parts of an elaborate programme such as this D.C. Panel is brought into operation. The artist can follow the continuity of the programme by means of head-phones provided in the Studios. In some of the Studios the artists can listen to the announcement made by the producer directly for the speakers provided in the Studios.


In addition to the above the producer can listen to the programme re-produced from the loud-speakers in that same room which is automatically switched off when he fades up his own microphones for making announcement.

Facilities are also provided which enable the producer to ‘talk-back’ to the artists through the Studio speakers during auditions or rehearsals. The gramo-producer sets provided are used for recorded effects during plays and for regular programmes. Sporting or other special announcement and market reports etc, are also broadcast from this room. Two such Dramatic Control positions, one each in Studio No. 4 and 6 have been provided.

It may be of interest to mention that about five miles of cable was used for loud-speakers, headphones signaling and clocks circuits and 1000 yards of cable for the microphones.


There are many items of interest which happen at odd hours of the night or at inconvenient time of the day and cannot be relayed immediately, either because the station is closed down or because the majority of listeners are not at home to tune in. In such cases the recording equipment is put into service.  The equipment is similar to that used by the gramophone companies. There are, however, two main points of difference-Firstly that the recording head cut grooves on a cellulose-coated metal disc instead of a wax disc. Secondly this method permits immediate play-back, while the wax disc has to undergo several processes before a record is ready for play-back. We have two similar types of recording machines   so as to record simultaneously to obtain a duplicate copy or to make continuous recordings. These records are not permanent but can be played over a dozen times without appreciably affecting the quality.

The equipment is mobile and has frequently to be carried to the desired spot for making records of talks or effects etc. Dr Rabindra Nath Tagore’s talks for example, are usually recorded at his residence and broadcast at the appointed time. There are in fact numerous everyday uses to which the equipment is put to.


An illuminated signaling system is used between the Control Room and the Studios for instantaneous change-overs to one Studio to another.

There are numerous other problems which need careful thought while designing a broadcasting Studio. Excellent results achieved in respect of sound insulation, acoustics and technical facilities justifies the time and energy expanded in this direction. But this is not all. Modern steel furniture and carpets enhance the appearance of the Studios, as will be seen from the illustration. In future the listeners will have the advantage of both the improved quality of reception from these new Studios as well as the improvement in programme production which will be possible with the additional facilities provided.


“Amrita Bazar Patrika [Daily]. Vol: 72; Issue:334 (04 December 1940).” Accessed December 23, 2016.;catid=226926;r=28145.
Photo source:
“LEGEND OF THE LOST – No.1 Garstin Place, AIR, Kolkata.” Noise Break, November 1, 2016.

Identified by Rajeswary Ganguly Banerjee, Research Fellow

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



Amrita Bazar Patrika | 25 december, 1940 | Page 7

Amrita Bazar Patrika | 25 december, 1940 | Page 7

Amrita Bazar Patrika | 25 december, 1940 | Page 7                                

Coming Calcutta Attraction

Music Festival

All Bengal Music Confce

At First Empire

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: –

  1. Khan Saheb Mustaque Hossain Khan of Rampur State, the famous Kheyaliya who belongs to the Gharowana (School) of Enayet Hossain of Rampur.
  2. Pandit Omkarnath Thakur, Sangit-Martanda of the School of Late Pandit Vishnu Digambar, (Kheyal and Bhajan).
  3. Khan Saheb Golam Ali Khan, famous Kheyaliya and son of Ali Bux of Lahore.
  4. Srimati Hirabai Barodekar, a disciple of the late Khan Saheb Abdul Karim Khan of Bombay, (Khayal and Thumri).
  5. Srimati Saraswati Bai of Bombay (Kheyal).
  6. Khan Saheb Ziauddin, son of Taksuddin Khan brother of Late Ustad Alabande Khan (Dhrupad and Alap).
  7. Khan Saheb Bhai Lal Muhammad Rababi, a disciple of famous Hindu musician Bhaskar Rao.
  8. Magan Lal, a disciple of Lachmi Narayan, of Panchgachia, Bhagalpur.
  9. Vilayatoo’s Sahnai Party of Benares.
  10. Anokhelal of Benares (Tabla).
  11. Miss Menaka Bai of Bombay, (Dance).
  12. Master Madan, 14 – year – old musician of Delhi Radio.
  13. Sundaram Aiyar, renowened violinist of Madras.
  14. Hiralal, famous dancer of Jaipur.
  15. Khan Saheb Samsuddin of Bombay, (Tabla).

Some of the famous Calcutta musicians will also demonstrate.



“Amrita Bazar Patrika [Daily]. Vol: 72; Issue:355 (25 December 1940).” Accessed December 16, 2016.;catid=226947;r=26962.


Identified by Rajeswary Ganguly Banerjee, Research Fellow

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


All Bengal Music Conference—A Galaxy Famous Artists To Participate | Amrita Bazar Patrika December 29, 1940

The Sunday | Amrita Bazar Patrika |  December 29, 1940

All Bengal Music Conference


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.


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.

Demonstration – Veen – Khalifa Md Dabir Khan; Dhrupad – Gopal Chandra Banerjee; Kheyal – Girija Shankar Chakrabarty; Rudra Veen – Pramatha Nath Banerjee; Kheyal – Ustad Mustaque Hussain Khan (Rampur State); Sanai – Mian Bilatu’s Sanai Party ( Benares).

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.


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.


Demonstration of Ahir Bhairav – Amrita Bazar Patrika – December 31, 1940


AMRITA BAZAR PATRIKA  | 31 December 1940 |  Page 7

All Bengal Music Conference Second Day Concerts


Demonstration of Ahir-Bhairav

One wishes a larger audience as presents as yesterday’s morning demonstration at the music conference. Now holding session on board the first empire to hear Ustad Bhallal Mahammad Rababi of Amristsar, (a direct disciple of the famous Hindu musician Pt. Bhaskar Rao), an artist of superior excellence, endowed with a high intuitive artistic sense who is able to hold big audiences in rapt attention for any length of time. Bhallal Saheb was booked to sing after 1 p.m; i.e at a time when the audience melted away for lunch. He had to sing before a very thin house, of course appreciative elements and Vidwans were all present on the stage, some of whom lavished high encomiums on the artist for his really soul-stirring performance. Bhallab Saheb commenced his repertoire with an Alap in an appropriate Rag-Ahir Bhairav, a sampooran one with Bhairav in the Poorvang and Kafi in the Uttarang. He proceeded with a Bilampat and then a Drut Kheyal and concluded with a Tarana of a same Raga.His display was characterised  by a remarkable individuality and rich imagination. Rag Chandrkaswar describes Ahir Bhairav as ‘Ati Bichitra’ and Bhallal Saheb with an (inmate) artistic consciousness did the technical elaboration of the Raga and played ‘Swaras’, scrupulously conserving the purity of his style in such a way that even the ears of a few good fastidious purists failed to be offended. Bhallal Saheb gave his first demonstration on Sunday night when he gave an Alap and kheyal in Malkoush.

Among other artists of repute who demonstrated 2nd, 3rd and 4th sittings, i.e. on Sunday night and Monday morning and evening included Srimati Hirabai Barodekar, Pt. Onkar nath Thakur, Prof. P.A. Sundar(?)Iyer ( Violin), Prof Nageswar Rao, Prof Shafiullah Khan (Setar), Prof Naseer Khan (Dukkar play in Dhamar), Sj. Bimala Kanta Roy Choudhury (Sitaar in Pilu and Kafi), Sm Menaka Bal (Kheyal in Shankara, Thumri Bhajan and dance), Prof Ram Chandra Bhatt (Dhrupad), Prof. Gopeswar Banerjee ( Dhrupad in Chhayanat and Narayani), Prof. Ziauddin Khan (Dhrupad in Darbad Kanada), Sj. Jatadhar Jha (Kheyal In Purabi and Bhajan), Prof. Wazid Khan (Tabla Lehra), Sj.Krishna Ch. Dey ( Dhrupad in Darbari), Sj. Jnanendra Praosad Goswami (Kheyal in Jaijayanti), Pandit Maganlal of Panchgachia (?) (Kheyal in Vasant-Vahar), Dani Babu (Dhrupad in Bhairav and Asavari), Prof. Shafiullah Khan (Alap in Badhamsasarang and Gat in Brindabani), Prof Nageswar Rao ( Kheyal in Lalit), and Miss Bijanbala Ghose Dastidar (Lalit-Kheyal).

Comments on Sm. Hirabai’s and other artists’ performances will be published in a future issue.


Morning 9-30 A.M.: – Demonstration by competitors.

Demonstration by musicians :- Prof. Ramanuj Iyangar of Madras (Veen), Nilimarani Dutt of Tatanagar (Kheyal), Sj. Hirendra Kumar Ganguly (Tabla Lehra), Prof. Asfaque Hussain Khan of Surgana (?)  State ( Kheyal), Sm. Menaka Bal of Bombay Kheyal Pt.Onkarnath Thakur (kheyal and Bhajan) an Sj.Jnanendra Pd. Goswami (Kheyal).

Evening at 5.30.P.M.:- – Demonstration by competitors.

Demonstration by musicians :- Amarnath Bhattacharya (Dhrupad), Sudhir Majumdar and Ram Kissen Misra (Kheyal), Dhirendra Chandra Mitra (Felu Babu)-Thumri, Nirmala Majumdar (Kheyal), Sachin Deb Burman ( Bengali Songs), Kalyani Debi of Benares (Dance), Prof. Ali-Ahmed Khan (Sitar), Ustad Ghulam Ali Khan of Lahore (Kheyal) and Prof. Hiralal of Jaipur (Dance).

After an interval of 15 minutes the following artists will demonstrate:-

Lalit Mohan Mukherjee (Dhrupad), Master Madan of Kutlehar (?) State (Kheyal), Mustaque Hussain Khan of Rampur (Kheyal), and Pt. Maganlal (Kheyal).


“Amrita Bazar Patrika [Daily]. Vol: 72; Issue:361 (31 December 1940).” Accessed November 23, 2016.;catid=226953;r=26962.


Identified by Rajeswary Ganguly Banerjee, Research Fellow

Special support – Dr. Suranjita Paul

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

A Musical Soiree—Amrita Bazar Patrika, 03 December, 1940


Amrita Bazar Patrika | 03 December, 1940 | Page 10


On Sunday evening, a pleasant musical soiree was held at the residence of Sj. Sailendra Nath Dass at 3-1, Kali Charan Ghosh Road,  Sinthee . When some distinguished artists of the city gave demonstration of both vocal and instrumental music.

The function commenced with a Kheyal in “Puria” sang by Prof. Sailendra Nath Dass, a worthy disciple  of Ostad Khadem Hussain followed by a “DuniKheyal”. SailenBabu was quite at home both in “tana” and “laya” and his repertoire reached theacme of classical music. Sj. Nityananda Sen Gupta’s (Nitai Babu) high class Dhrupad songs together with Sj. Amiya Prasad Sen Gupta’s skillful harmonium accompaniment was really a good treat. Last of all Sj. Nitai Charan Adhikary gave an exquisite demonstration of Sitar in Ragas like Bhupali, Bagesri etc. His masterly control over some subtle and intricate tanas etc. was highly appreciated, while Sj. Debendra Nath Ghose’s tabla accompaniment was an additional charm.

Mr. Das was all attention to his guests.



“Amrita Bazar Patrika [Daily]. Vol: 72; Issue:333 (03 December 1940).” Accessed November 17, 2016.;catid=226925;r=28145.


Identified by Rajeswary Ganguly Banerjee, Research Fellow

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



Amrita Bazar Patrika | 18 February, 1940 | Page 14



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.



“Amrita Bazar Patrika [Daily]. Vol: 72; Issue:48 (18 February 1940).” Accessed October 21, 2016.;catid=226617;r=491.



Identified by Rajeswary Ganguly Banerjee, Research Fellow

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

Harmonium Ban on All India Radio – News 02 March, 1940

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.;catid=226630;r=16827.













Identified by Rajeswary Ganguly Banerjee, Project Fellow.

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

S.M. Tagore writes on Chhalikya Geet

Amrita Bazar Patrika published a letter from Raja Sourindra Mohun Tagore on page 3 of their 09 January 1873 edition.  Tagore wrote that he put his efforts to decipher the meaning of ‘Chhalikya Geet’ that occurred in the 147th chapter in the 21st sloka of Haribangsha. He did it under the requests of Ishwar Chandra Vidyasagar and Rajendra lal Mitra.


























Identified by Rajeswary Ganguly Banerjee, Project Fellow.

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

All Bengal Music Conference – 1940 – A Press Review

Tuesday, Jan. 2, 1940 | Amrita Bazar Patrika  | page 7 | column-6

Pt. Omkarnath’s Demonstration


Session Concludes To-day

 Pandit Omkarnath Thakur one of india’s front-row musicians sang at yesterday’s morning sitiing of the All Bengal Music Conference. The hall was full to its capacity and Panditji found a very appreciative audience who vociferously cheered him after his songs which made a piercing appeal to everyone’s heart. The great artist found himself in the best of moods and his Raga-Bhava hardly left anything to be desired. His Kheyals in Devgiri and Todi followed by a Bhajan of Suradas were extraordinarily rich in feeling-contents, his style springing out of an enrapturing variety of form. His artistry yesterday was an example of technical facility. The writer, however could not appreciate Panditji’s endeavour to introduce something like Ramayan Gan as he did in his Bhajan) on a Music Conference platform. It appeared to him to be something like an anti-climax.

There were other artists also who received high encomiums from the audience yesterday morning. They were Prof. Sawai Gandharva of Bombay who sang Kheyal in Multan and prof. Hamid Hussain Khan of Lucknow, the famous Sitaria who did Bilaskhani Todi. The famous tablchi of Benaras Prof. Anokhelal’s Lahara and accompaniment play were also much applauded.

Among others who demonstrated yesterday morning and on Sunday were the following:—

Mr. K.C. De (Dhrupad—Adana), Sj. Jitendra Nath Banerjee (Tappa), Prof. Krishna Rao of Poona (Kheyal in Darbari Kanada, Adana and Bhajan), Prof. V.N. Patwardhan (Kheyal in Malkoush), Prof. Hamid Hussain Khan (Sitar-Alap in Puria and Sohini Gat), Dance by Gopal Brajabashi, Dhrupad in Iman-Kalyan and Bhupali by Dani Babu, Tabla Lahara by Sj. Hirendra Kumar Ganguly, and Kheyal in Adana and Bhimpalashi by Niharrani (?) Dutt of Tata Nagar, Sitar in Bhairavi by Renuka Saha and Kheyal in Gaud Sarang by Pandit Ram Kissen Misra and brothers.

In the evening sitting yesterday Prof. Faiaz Khan, Prof. Sadiq Ali Khan, Miss Nina (Russian Dancer), Miss Sushila Varadaraja of Indore, Mr. K.C. Dey, Prof. Sambhu Maharaj, Master Attra, Prof. Genu of Poona, Sj. Birendra Kishore Roy Chaudhury and many other Calcutta artists demonstrated. A report of the sitting will be published tomorrow. In the evening sitting of 30th Sj. Bhagawat Ch. Banerjee sang Bhatiyali songs. And   on Sunday Sj Hirendra Kumar Ganguly did the Tabla Sangat with the Swarod play of Prof. Alauddin and Ali Akhbar. These two were not mentioned in our previous reports through inadvertence.


Note: This 1940 All Bengal Music Conference was held at Sree Cinema, 138 Cornwallis Street. [Ref. Advertisement in Amrita Bazaar Patrika, Jan 2, 1940)



















This press clipping was collected from the reference below:

“Amrita Bazar Patrika [Daily]. Vol: 72; Issue:02 (02 January 1940).” Accessed September 22, 2016.;catid=226571;r=26962.

Identified by Rajeswary Ganguly Banerjee, Project Fellow.

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