Category Archives: 1921-1947

North, Performance, 1921-1947, Music Criticism, #Press Reports

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

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.

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.

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.

 

North, Performance, 1921-1947, Music Criticism, #Press Reports

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

ambp-dec31-1940

AMRITA BAZAR PATRIKA  | 31 December 1940 |  Page 7

All Bengal Music Conference Second Day Concerts

CLASSICAL RAGAS

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.

TO-DAY’S PROGRAMME

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).

Source:

“Amrita Bazar Patrika [Daily]. Vol: 72; Issue:361 (31 December 1940).” Accessed November 23, 2016. http://eap.bl.uk/database/large_image.a4d?digrec=4266682;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.


North, 1921-1947, Teaching-Learning

Association of some famous musicians with Rassogolla Bhavan: Dhirendra Nath Das recollects

Told by Dhirendra Nath Das
Obtained by Suranjita Paul & Mousumi Das Maiti
Date 9th  November 2016
Place 532, Rabindra Sarani. Kolkata- 700003
About the speaker Dhirendra Nath Das is the son of Krishna Chandra Das who was a well known confectioner, entrepreneur, businessman and Bengali cultural icon of the early 20th century. Dhirendra Nath Das is an Indian classical Music connoisseur and patroniser. He was also a committee member of Tansen Sangeet Sammelan and Sadaranga Sangeet Sammelan.
Tags Anath Nath Bose, 1940’, Dhirendra Chandra Mitra, Manjulika Das, teacher, Rassogolla Bhavan
Language Bengali

Dhirendra Nath Das speaks:

 

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
North, Performance, 1921-1947, Listening

Good music and listening to music sitting over tram lines

Told by Dhirendra Nath Das
Obtained by Suranjita Paul & Mousumi Das Maiti
Date 9th  November 2016
Place 532, Rabindra Sarani. Kolkata- 700003
About the speaker Dhirendra Nath Das is the son of Krishna Chandra Das who was a well known confectioner, entrepreneur, businessman and Bengali cultural icon of the early 20th century. Dhirendra Nath Das is an Indian classical Music connoisseur and patroniser. He was also a committee member of Tansen Sangeet Sammelan and Sadaranga Sangeet Sammelan.
Tags Rangamahal, Natya Mancha, 1940’s, Ali Akbar Khan, Allauddin Khan, Ravi Shankar, All Bengal Music Conference, Bhupendra Krishna Ghosh
Language Bengali

Dhirendra Nath Das speaks:

 

 

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

 

Performance, North, 1921-1947, Music Criticism, #Press Reports

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

soiree_03dec1940_ambp——————————————

Amrita Bazar Patrika | 03 December, 1940 | Page 10

A MUSICAL SOIREE

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.

—————————————–

Source:

“Amrita Bazar Patrika [Daily]. Vol: 72; Issue:333 (03 December 1940).” Accessed November 17, 2016. http://eap.bl.uk/database/large_image.a4d?digrec=4266291;catid=226925;r=28145.

 

Identified by Rajeswary Ganguly Banerjee, Research Fellow

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

Pt. Satkari Malakar teaching Pandit Tarapada Chakraborty— disadvantages of being overly-talented

Told by Pt. Sanjoy Bandopadhyay
Obtained by Rajeswary Ganguly Banerjee
Date 24th October, 2016
Place S.A.P. Lab, Instrumental Department ,Rabindra Bharati University ,B.T. Road Campus.
About the speaker Sitar Maestro, Chair  Professor, Department of Instrumental Music, Rabindra Bharati University
Tags Manas Chakraborty, Tarapada Chakraborty, Teaching and Learning, 1920’s, Bandish, Satkari Malakar, Satcowridas, shrutidhar
Language Bengali

Pt.Sanjoy Bandopadhyay speaks :

Verbatim:

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

Pt Tarapada Chakrabarty

?????? ????? ???? ???? ????, ??? ??? ?????? ?????????? ???????????????? ???? ?, ?????? ??? ????? ???? ????, ?? ????? ????, ?? ???? ???, ????? ??? ???, ????? ???? ??? ?????? ????? ???? ??????, ???? ???? ??? ??? ????? ???, ?? ?????? ??? ????, ??????????????, ?? ?? ????? ????????? ?? ?????????????? ?????, ???????, ?????? ????? ??????, ?????? ????? ??????, ?? ?? ????? ?????? ???? ????? ?? ?????????? ???? ????? ???????, ?? ?????? ?????? ???? ???????, ?????? ????? ???? ?? ?? ?? ??????? ??? ??? ?? ??? ????? ????? ??? ????????? ????? ??? ?????, ?? ???? ????? ??? ???????, ????? ???? ???? ???, ????? ??? ????? ?? ???? ????? ????? ?????, ????? ???, ??? ??? ???? ?????? ?????? ????? ??????, ???? ????? ??? ???, ?? ??? ??????? ????? ?? ??? ???? ??? ????? ????? ??? ??? ???? ??? ??? ????? ??? ???? ???? ???? ?????? ?? ????? ???? ????? ?? ??? ????? ?????? ?? ?? ?????, ????? –“?? ?? ?????? ?????? ?????, ?? ???? ????? ??? ????? ?? ???????, ?? ?????? ??? ???????? ??? ????? ?????” ?? ??? ???????, ?? ??? ?? ????, ??? ?? ???????? ?????, ????? ?? ??? ??? ???? ?????, ??? ??????, ?? ?????? ?????? ?????, ??? ??? ??? – “??? ??? ???”, ???? ??? ???? ?????, ?????? ???? ??, ???? ?????? ?????? – ?????? ????? ????? ???? ?????? ??? ?????? ????? ???? ?????, ?? ?????? ????? ???? ????? ????? ???? ?? ?????? ???????????? ??????? ??????????, ??? ?? ???????? ???? ??????, ??? ?????? ????? ????? ?????, ????, ?????? ???? ??? ?? ??????????? ?????? ??? ????, ?????? ??? ???? ???, ????? ??? ???????, ?? ???? ???????? ????? ????? ?????? ????????? ????????, ????? ?????? ??? ????? ???? ??? ???????, ?? ???? ???????, ???? ?? ??????????? ???????, ???? ??? ???? ?????, ?????? ???? ?? ??????????, ???? ?????????? ??? ?????? ??? ??, ???????? ??? ???? ?????? ?????? ??, ???? ??? ???? ??? ??????, ??? ??? ?????? ??? ???? ??? ???? ??? ?????, ???? ???? ??????? ???, ???? ??? ?????? ?????? ????? ??, ??? ????? ??? ????? ????? ????, ??? ????? ???? ????, ????? ???????? ???????? ??? ?????? ????? ?? ???? ????? ?????? ??? ???? ?? ??????? ??? ?????, ????? ???? ?????? ?????? ???? ???? ????

Verbatim: Rajeswary Ganguly Banerjee

 Translation: 

 I had heard a story from my Guru  Manas Da, Pandit Manas Chakraborty, about his father  Pandit Tarapada Chakraborty when he was taking lessons from Satkari Malakar.

Pt. Tarapada Chakrabarty with his young Disciple

We know that Pandit Tarapada Chakraborty  was born in 1909. Probably in n the 1920s  he used to take lessons from Satkari Malakar.  We can see this  in that  a memorial program of Sri Manmotho Ganguly , held in 1940 both Satkari Babu and Tarapada Chakraborty performing  on the same stage. Satkari Babu was visually challenged. Tarapada Chakraborty pleaded  Sri Satkari Makalkar and started taking his training under  him, Tarapada Chakraborty used to walk miles to reach that venue. He used to walk to Satkari Babu’s house and learn music from him. After each day’s learning of the Bandish, he used to ask him about when he should come next. Satkari Babu used to ask him to come only after mastering the Bandish properly.  And he visited him the next day. Satkari babu, knowing who has come by the sound of people’s footsteps would say, “You had come just yesterday, and now again you are back! You have already became an Ustad or what” Then  he would ask him to sing what he has picked up so far and he sang the Bandish exactly the way he was taught a day back, since he was a ‘Shrutidhar’. Ultimately Satkari Babu  had to teach him another new Bandish, and this would continue. Manas Da also had told me that Satkari Babu could sing by hearing the sound of tarapada babu’s footsteps. He never got a chance to sit, and would sing from the threshold of his Guru’s house. He did not like the fact that his extremely talented pupil could learn and pick up the Bandish so easily and so fast. We have a notion that classical music is tough to learn and it takes a long time to pick up, but Tarapada Babu was very different in this respect. It was a great thing to be able to learn it so fast. A Bandish is so difficult to pick up, and to be able to learn it was considered a great thing to learn. From the side of the educators, they were extremely conservative about teaching it to others, and today, I feel the situation has somewhat changed.

Translated by:   Ankana Das.

Picture Courtesy: Google

 https://www.google.com/search?client=firefox-b&biw=1366&bih=631&tbm=isch&sa=1&ei=YxX0WuHOFcnJ0ATbqajwDA&q=tarapada+chakraborty&oq=tarapada+&gs_l=img.1.0.35i39k1j0l6j0i24k1l3.11138.12944.0.15446.9.9.0.0.0.0.258.1128.0j2j3.5.0….0…1c.1.64.img..4.5.1124…0i10i24k1.0.3L1LekF7M7w#imgrc=ZyJ3ivPXMubQmM:

https://www.google.com/search?q=tarapada+chakraborty&client=firefox-b&tbm=isch&tbs=rimg:CQLrbAVi6BowIjjbczyTxiBOvNnwXle0r_1zQisrRDTf7OZpxnfvv6SCQGmcid4rz1zLms0jEKiZb99U89ABZ0-tGRCoSCdtzPJPGIE68EeC0R6UjvkTBKhIJ2fBeV7Sv_1NAR3xwy6DCc63EqEgmKytENN_1s5mhEy1H2rMuLdKCoSCXGd–_1pIJAaEb-PTC68Dl6SKhIJZyJ3ivPXMuYRAcZg3SVS6cMqEgmzSMQqJlv31RGlw92CWTVJNyoSCTz0AFnT60ZEEbd2nj6cfV73&tbo=u&sa=X&ved=2ahUKEwjTkfvp9PraAhXBuI8KHbLKA58Q9C96BAgBEBs&biw=1366&bih=631&dpr=1#imgrc=cZ377-kgkBrySM:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

 

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

 

Performance, North, 1921-1947, Music Allied, #Press Reports

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

tributemanmathag

Amrita Bazar Patrika | 18 February, 1940 | Page 14

MUSICAL SOIREE

MONMOTHO NATH GANGULI ANNIVERSARY

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

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

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

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

 

Source:

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

 

 

Identified by Rajeswary Ganguly Banerjee, Research Fellow

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
Accompaniment, 1921-1947, Kolkata, #Press Reports

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. http://eap.bl.uk/database/large_image.a4d?digrec=4262810;catid=226630;r=16827.

amritabazarp-2march1940-harmoinumban-air

 

 

 

 

 

 

 

 

 

 

 

Identified by Rajeswary Ganguly Banerjee, Project Fellow.

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

Pt. Manilal Nag talking on the Teaching Style of Pt. Gokul Nag

Told by Pt. Manilal Nag
Obtained by Prof. Sanjoy Bandopadhyay & Dilip Mukherjee
Date 12 February, 2015
Place Residence of Pt. Manilal Nag, 13G Gobinda Mondal Lane, Kolkata 700002
About the speaker Manilal Nag is a renowned sitar player and an exponent of the Bishnupur Gharana of Bengal. His sitar recitals have been featured in many National Programmes of Music & Akashvani Sangeet Sammelan since 1954. He is a recipient of several prestigious awards including Sangeet Natak Akademy Award in 2001 and

Government of West Bengal’s Highest Civilian Award, Banga Bibhushan in 2015.
Tags Gokul Nag, vocal music, dhrupad, sargam, riyaz, practice, repetition, bol, sargam, right hand, left hand, reflex action, Mita Nag, 6-7 year old, beating, 1945, 1946
Language Bengali

Pt. Manilal Nag speaks

Verbatim:

– ????? ?????? ???? ????…

– ????? ??? ????? ????

                            Pt. Gokul Nag

– ?????, ????? ?????? ???? ???? ??? ??? ???????? ????? –‘??? ??? ?????’? ?????? ?? ??? ??? ??? ????? ?? ?????? ????? ?????? ???? ???? ???? ?????? ?????, ?????, -‘? ???? ???? ???? ?????? ??’? ??? ????? ???????? ??? ?????? ??? ?? ???? ???? ??? ???? ???? ???? ???? …???? ???? ???? (???? ????????)?

– ?? ????? ????? ?????? ??? ????????

– ?????????

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

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

– ?? ??? ????? ???? ?? ????? ?????? ????? ??? ??? ????? ???? ????? ??? ????? ???? ????? ? ??? ???? ??????

– ?? ??? ??? ?? ??? ??? ????? ???? ??? ????? ?????? ???? ????? ????? ???? ???-?? ???? ????? ???-??? ???? ??????? ???? ??? ??? ??? ????? ??? ????? ????? ????? ?????? ????

-??? ???? ?? ??? ?? ????? ??? ?????????? ???? ?? ?? ??????? ???????? ?? ?? ???????? ????????? ?? ?? ????

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

– ???? ??? ?? ??? ??? ???? ??? ??? ???????

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

– ?????????? ??????? ???? ??? ????????? ????? ???????? ???? ?? ????? ???? ???? ????? ??????? ????? ????? ????? ??? ????? ??????? ???? ???????? ??? ????? ??????? ???? ??????? ??? ??? ????? ????? ?? ??? ???? ??? ???????? ??? ?????? ????????? ?????? ???? ??? ??? ???? ? ??? ???? ??? ??? ????? ?? ??? ??? ????? ??? ???? ??? ???? ???? ?????? ??? ????, ??? ????…? ?? ??? ?? ????? ????? ??????? ??? ????

Verbatim by: Dr. Suranjita Paul

 

Translation:

Father used to teach us how to sing before he would teach us how to play the sitar. We learnt Dhrupad. Once we picked up the raaga, he showed us the sargam on the sitar and asked us to play. That is, he asked us to do riyaaz. We had to play the same thing for a long time, accompanied by bol or sargam. So, for instance, in case of sargam it could be: “g? re s?, g? re s?, g? re s?, m? g? re m? g? re m? g? re, p? m? g? p? m? g? p? m? g?, s? re s? g? re s?, re g? re m? g? re, g? p? m? g? p? m? – inverting it – s? g? re s?, re g? m? re s? g? re g?, s? g? re g?, re m? g? m?, re m? g? m?…”

– How long would you play these?

                      Pt. Manilal Nag

– For a long time.

– Two hours? One hour?

– No, not one or two hours on every occasion. Forty times, thirty times. Then we changed it again. It’s not like we played the same thing for an hour.

– Was the riyaaz different for your left hand and right hand?

– No. If the right hand moves, the left hand will move automatically.

– Okay.

– The rule is that if the right hand moves well, the left hand will follow suit. I didn’t do anything special for the left hand. If the right hand moves, so will the left.

– You know, I think it is reflex. For every person, the matter of riyaaz is different depending on the reflex.

– I wanted to find out about his.

– I think reflex is the main factor.

– How old were you when you father was training you?

– I was around six or seven years old.

– Even at that age you had a rigorous riyaaz?

– Yes. Otherwise we’d get a beating. I’ve been beaten up many times.

– Beating doesn’t aid in the process of development.

– He was kicked from the first floor and fell to the ground floor because he played football. Such stories are there. He still has a mark on his arm.

– I used to play football. There was a rajbari in Uttarpara where there was a football ground. I was addicted to sports. I played football. At that time Salil Manna’s shots were famous. I stopped that shot. My wrist was dislocated. I had to figure out what I had to do next. I couldn’t go home and say I broke my wrist playing football. If I said that then father would get angry and give me a good thrashing. So, I came up with a plan. I was already quite mischievous by then. So, I made a loud noise and screamed that I had fallen down. Otherwise, I would have received a sound thrashing!

Translated by: Sarbajaya Bhattacharya

 

Picture Courtesy: Google

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

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

Edited & Designed: Dr. Suranjita Paul

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

 

North, 1921-1947, #Press Reports

All Bengal Music Conference – 1940 – A Press Review

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

Pt. Omkarnath’s Demonstration

MUSIC CONFERENCE

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)

omkarnaththakur-amritabp

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This press clipping was collected from the reference below:

“Amrita Bazar Patrika [Daily]. Vol: 72; Issue:02 (02 January 1940).” Accessed September 22, 2016. http://eap.bl.uk/database/large_image.a4d?digrec=4261887;catid=226571;r=26962.
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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.