| Told by | Bishoke Kumar Sil |
| Obtained by | Suranjita Paul |
| Date | 29th September 2016 |
| Place | 84A, Ahiritola. Kolkata- 700005 |
| About the speaker | Bishoke Kumar Sil is an eminent Sitar and Rudraveena player of Seni gharana |
| Tags | Kacher Mandir, Glass Temple, Baranagar, 2004, 2005, Pakhawaj, Vivekananda society, Maniktala, Veena, Pakhawaj, Tanpura, Harmonium, Sarat Ghosal, Sudip Pal, Maya Vasant, Kafi, 2006 |
| Language | Bengali |
Bishoke Kumar Sil speaks:
Translation:
It was a unique experience I want to share. I went to perform in a glass temple in Baranagar in 2004 or 05. The pakhwaj player wanted atta (wheat flour ) to put in his instrument and they gave him some. But a little while later he did not feel the desired effect and it was quite oily, so we asked about the flour and they answered that it was dough made for luchi. So we had to remove all oil and then put the correct flour and then perform.
Another experience was that I was playing veena in Vivekananda society in Maniktala in 2004-05. It was a hurriedly assembled lot of musicians, a tanpura, harmonium and pakhawaj player was their own. Sarat Ghoshal in pakhawaj, Sudip Ghosh in tanpura and I can’t remember the harmonium player’s name. I play in G sharp scale, it was quite high but the other instruments collided and kept a lower scale. I played raga Maya Vasant and recorded it on my own player. I came home and replayed it and I heard Raga Kafi was being played. I did not play that raga. I know it but I did not play it. So, I heard quite keenly and still it was raga kafi. Because of the scale difference the other instruments became prevalent and I played with their scale and I played raga Kafi.
Translated by: Arundhati Banerjee
Picture courtesy: Google
https://cityseeker.com/kolkata/402173-kancher-mandir
Edited & Designed: Dr. Suranjita Paul
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.