Late Pandit Pannalal Ghosh

Pt. Pannalal Ghosh - Wizard of the Bansuri Born in Barisal, East Bengal (now Bangladesh) on July 31, 1911, Amulya Jyoti (nicknamed Pannalal) Ghosh was a child prodigy. He inherited his love of music and the bamboo flute (bansuri) from his grandfather, Hari Kumar Ghosh who played sitar,tabla,and pakhawaj and learned sitar from his father, Akshay Kumar Ghosh. He also learned music from his maternal uncle, Bhavaranjan Mazumdar who was a vocalist. The family first lived in the village of Amarnathganj and later moved to the town of Fatehpur.

Late Pandit Pannalal Ghosh [31 July, 1911 - 20 April, 1960]

Two apocryphal incidents happened to young Pannalal which had an influential bearing on his later life. First, at age 9 while looking for a stick, Pannalal found a flute floating in the river. He retrieved the instrument and so began his lifelong relationship with the bansuri. Two years later at age 11 Pannalal met a sadhu who held both a conch and a flute. The sadhu asked Pannalal if he could play the flute, and young Pannalal obliged. The sadhu gave him the flute and told the boy that music would be his salvation. There was a political unrest in 1928, and every youth was possessed with the freedom movement. Pannalal also joined this freedom movement. He enrolled in a gymnasium where he learned martial arts, boxing, and stick fighting and practiced physical culture. Pannalal was very fond of physical culture. He became the best student and champion of this gymnasium. He became more involved in the freedom movement and the British Government started keeping a watch on his movements. So at the age of seventeen Pannalal left Barisal and went to Calcutta in search of livelihood. In the teeming metropolis he found himself without any credentials except that he was a boxing champion and had won the All Bengal competition in boxing. With his skill as a boxer and martial art expert he landed a job as a coach in an athletic club. One year later, at the age of 18, Pannnalal lost his father. At this time Pannalal, who was already playing sitar, began to focus his attention on bansuri. Economic necessity drove him into performing music for the silent films in Calcutta. At an All India music competition he met music director and composer Anil Biswas and began to play in his musical productions. It was during one such production when Anil Biswas was directing music for a dramatization of a work by the renowned poet Kazi Nazrul Islam that Pannalal decided that he needed a bigger flute who's pitch and sonority would be more appropriate for both classical and light music. He met an old Muslim toy vendor who was also proficient in making flutes. With his help Pannalal experimented with various materials including metal and other types of wood, but decided bamboo was still the most suitable medium for a larger instrument. He finally settled on a bansuri which was thirty two inches long, with a sa (tonic) at kali doe (the second black key on the old harmonium scale). As a flute of this size was hitherto unknown, a rumor arose that Pannalal had had surgery to cut the webbing between his fingers to facilitate the large span required to cover the finger holes of the instrument. Of course, he had no such surgery, but through dedicated riyaz (practice), Pannalal invented and perfected the technique to play the large instrument. At this time he would get his bamboo to make flutes from discarded packing materials found at Diamond Harbor, the large port of Calcutta. Deforestation had not yet consumed the forest around Calcutta, and the bamboo was believed to have grown close to the city itself. He practiced hard and perfected the technique of vocal music on flute. At this time he realized the need for meend from madhyama swar to nishad or dhaivat shrutis in ragas like Bihag, Yaman, Bageshree and many others. He experimented and invented the seventh hole of madhyama. He became famous for his flute playing and started getting performances at the major music conferences. At this time he came in close contact with great maestros like Ustad Inayat Khan (sitar), Ustad Dabir Khan (Been), Ustad Amir Khan (sarod), Ustad Badal khan (sarangi), and vocalists such as Ustad Faiyaz Khan, Ustad Abdul Karim Khan, Ustad Majid Khan, Pt. Tarapoda Chkraborty, Pt. Bhismadev Chattopadhyay and many others. His quest for knowledge and purity of tradition made him acquire intricacies of music from these erudite musicians. In 1936 Pannalal began working with Raichandra Boral, music director of the well known 'New Theater' and one year later he met his first guru, Kushi Mohammed Khan - the 'Harmonium Wizard'. In 1938 as music director of the dance troupe of the princely kingdom of Seraikella State, Panna Babu (as he was affectionately known) was one of the first classical musicians to visit and perform in Europe, which he found rather agitating and unsettling. Soon after his return to India his guru expired. Thereafter he underwent training from Girija Shankar Chakravarti. In 1940, Pannalal moved to Bombay on the advice of his first disciple Haripada Choudhary (who had himself recently moved to Bombay). There he joined the Bombay Talkies film studio and gave music to quite a few films including 'Basant.' Panna Babu's wife, Parul Biswas, (sister of Anil Biswas), was a graceful singer of kirtans who became one of the first well known playback singers for the new 'talking' films. Pannalal first met the legendary Ustad Allaudin Khansahib, (reverentialy known as 'Baba') in 1946, when Baba came to Bombay with his disciple, Pandit Ravi Shankar. Initially, when Pannalal asked Baba to teach him Khansaheb replied, "You are already great, you don't need to study more." Pannalal implored Baba to please teach him so that he could learn "authentic music and sur." In 1947, Pannalal's lifelong yearning to learn music from a true guru was fulfilled when Allaudin Khansaheb , convinced of Pannalal's sincerity to learn, accepted Pannalal as his disciple. Pannalal then accompanied Baba to his home in Maihar, where he received intensive taalim (training) from Khansaheb for the next six months. Under Baba's firm yet understanding tutelage, he blossomed into the wizard of the bamboo reed.

Panna Babu earned fame through his regular broadcasts on AIR (All India Radio) and his many live performances at music festivals throughout India. The eminent vocalists Ustad Fayaz Khan and Pandit Omkarnath Thakur appreciated his music very much and requested Pannalal to accompany their vocal recitals on bansuri. He was praised for his adaptation and rendering on the bansuri of the khayal-ang- gayaki (the classical vocal style), particularly influenced by the great master of the Kirana gharana, Ustad Abdul Karim Khan. Pannalal also incorporated alap, dhrupad-ang-gayaki, tantrakari, jhala, thumri, dadra and folk music into his performance style on bansuri. Well versed in tabla and rhythm, he would perform in such difficult tals as jhoomra and tilwara. His music was steeped in devotion and had an intangible ethereal element, immense emotional depth and was infused with spiritual profundity. In addition to introducing the larger instrument, Pannalal Ghosh is credited with inventing the bass bansuri and introducing the six-stringed tanpura, high-pitched tanpuri and the surpeti or sruti box into Hindustani music. He created and popularized several new ragas including Deepawali, Pushpachandrika, Hansanarayani, Chandramauli, Panchavati and Nupurdwani, as well as multitudinous vilambit and drut compositions in many well known ragas.

Panna Babu practiced daily meditation and observed maun by not speaking on Thursdays. He took the vows of Ramakrishna and put his faith in music. He took Mantra Diksha from Swami Birjanandji Maharaj who was a direct disciple of Swami Vivekananda. Because of his intense spiritual practice he started loosing interest in day to day life and decided to take Sanyasa. When he expressed his desire to Swamiji, his Guru, he was told that he would attain Moksha through music only. He should practice music as religiously as his spiritual practice. His music showed total spirituality, simplicity and purity. Pannalal continued composing and recording music for films, but began to find film work distasteful. Panna Babu's impressive rendition of Raga Darbari Kannada in his 1956 National Programme broadcast from AIR Delhi fetched him further acclaim and at this time B.B Keskar, director of AIR, awarded him the meritorious post of composer-conductor of the Indian National Orchestra and producer for AIR Delhi. He held the post and maintained his devotion to the interpretation of classical music on the bamboo flute until his untimely and sudden death due to heart attack at the age of 49 on April 20, 1960 in New Delhi. He left his musical legacy in the capable hands of his principal disciples: the late Haripada Choudary, Devendra Murdeshwar, V.G. Karnad and Nityanand Haldipur .

The Pioneer of Modern Bansuri

Pt. Pannalal Ghosh -[31 July, 1911 - 20 April, 1960]

Born in to a family of musicians in Barisal, East Bengal (now Bangladesh) on July 31, 1911, Amulya Jyoti (nicknamed Pannalal) Ghosh was a child prodigy.

Panna Babu, as he was fondly known, is the father of modern Bansuri. He was the first to transform a tiny folk instrument to a novel bamboo flute (32 inches long with 7 holes for fingering) suitable for playing traditional Indian classical music, and also to bring to it the stature of other classical music instruments. Also to his credit are the introduction of the special tenor flute, 6-stringed Taanpura, high-pitched Taanpuri and Surpeti into Hindustani music.

Pannalal Ghosh

Pannalal Ghosh (1911-1960) was a flute maestro.

The great maestro and pioneer of Hindustani classical music on flute, Pt. Pannalal Ghosh alias Amal Jyoti Ghosh was born on July 31 1911.

Pannalal Ghosh with his flute

He was brought up in a family of musicians. Grandfather, Hari Kumar Ghosh; father, Akshay Kumar Ghosh and maternal uncle, Bhavaranjan were proficient musicians. Mother, Sukumari (daughter of Mr. Muzumdar of Dhaka), was a sweet singer. Young Pannalal was highly receptive and absorbed good music from various sources. He regarded the 'Harmonium Wizard', Kushi Mohammed Khan as his first Guru, and was fortunate also to have had the blessings and systematic training from the legendary Ustaad Allaudin Khan Sahib, (reverentially known as 'Baba').

Pannalal Ghosh was the first to transform a tiny folk instrument to a novel bamboo flute (32 inches long with 7 holes for fingering) suitable for playing traditional Indian classical music, and also to bring it to a stature at par with other classical music instruments.

Not only that, he also mastered the technique with such a great proficiency that could at ease present, in the concerts, the heavy ragas (melodies) like Todee, Darabaree, Miyan Malhar, Pooriya, Shree, Pooriya Dhanashree, Kedar, etc. retaining intact the entire beauty as well as the grammar. These ragas are now the speciality of the flautists of his Gharana (tradition).

He also created and popularized several new ragas (melodies) including Deepawali, Pushpachandrika, Hansanarayani, Chandramauli, Panchavati and Noopurdwani.

His playing style was a uniform and balanced blend of both, the Gayaki (vocal style) and Tatkari (stringed instrument style). This is evident from his available recordings, and also from the fact that he was very much liked not only by the eminent vocalists such as Ustaad Fayaz Khan and Pt. Omkarnath Thakur, but his understanding of the Taal (rhythm) also was appreciated by all the renowned Tabla players (percussionists) including Ustaad Amir Hussain Khan, Ustaad Allarkha, and Pt. Nikhil Ghosh. To quote, Pt. Lalji Gokhale (best student of Ustaad Ahmad Jan Tirakhwa) has exclaimed that it was impossible that Pannababujee would make mistake in Taal !

Because of the humble and helpful nature, he always remained a very popular and highly honoured personality amongst the music connoisseurs, and endeared all the senior musicians as well.

His contribution has great significance also because there have rarely been examples in music history when a musical instrument was created as well as popularly accepted (at par with traditionally established instruments) for playing classical music. Also to his credit are the introduction of special bass flute, 6-stringed Taanpura, high-pitched Taanpuri and Surpeti into Hindustani music.

Pannalal Ghosh, as the music director of the dance troupe of the princely kingdom of Seraikella State, visited and performed in the Europe in the year 1938, and was one of the first classical musicians to have crossed boundaries of India.

Pannalal Ghosh with Geeta Dutt

After joining All India Radio, Delhi, as the Conductor of National Orchestra in 1956, he composed path-breaking orchestral pieces such as Kalinga Vijay and Andolika. His contribution in semi-classical as well as film music also was equally significant, and his name is permanently linked to many famous movies such as Aandolan, Anjan, Basant, Basant-Bahar, Duhai, Munna, Mughal-e-Azam, Police and Nandkishor.

On breathing his last on April 201960, at an early age of 49 years, he left behind a large number of disciples and admirers. Amongst his noteworthy students and followers have been Haripad Choudhari, Aminur Rehman (Bangla Desh), Fakirchand Samanta, Gaur Goswami, Shreeram Joshi, Rashbihari Desai, Mahesh Mastfakir, Devendra Murdeshwar, V.G. Karnad, Niranjan Haldipur, Bhailal Barot, Prabhakar Nachane, Sharad Mohalay, K.D. Desai, Suraj Narayan Purohit, Hari K. Chabria, and Lalitha Rao and Mohan Nadkarni.

The current batch of the Pannalal Ghosh tradition is capably represented by several professional flutists viz; Naresh Kumta, Harishchandra Kokare, Keshav Ginde, Pt. Nityanand Haldipur, Azizul Islam (Bangla Desh), Vijay Kabinittal, Lyon Leifer (USA), David Philipson (USA), Anand Murdeshwar, Ravindra Samant, Harshawardhan Kaulgi, Abdul Bari Siddiqui (Bangla Desh), Vishvas Kulkarni and several others.

Today, flute has been an inseparable component of every form of Indian music. Since most of the credit for this goes to Pannalal Ghosh, every professional and amateur flautist of India remains grateful to this maestro, and his name will be remembered by all music lovers for ever.

Pt Pannalal Ghosh (1911-1960)

Thanks for the info Qwestji, haven't gone through it all yet, but what I've gotten to is very interesting (didn't want you to think that no one is reading). Oh and thanks for making the font bigger too, that helps.
Thanks 😊 .

Thanx babu.will add for sure. i hav some old recordings of his. will upload them. had few live videos too. let me hunt them out.

Thank you very much Qwest. I now know what Pannalal Ghosh looked like. Isn't his flute very long?

Originally posted by: punjini

Thank you very much Qwest. I now know what Pannalal Ghosh looked like. Isn't his flute very long?

ok Sahana here's the reason for it.

Pannalal Ghosh's innovations in the development of the bansuri included the creation of a larger instrument of more than thirty inches in length, (thus giving the Bansuri its characteristic somber-yet-sweet tone and register, so suitable for Hindustani classical music), and the addition of the seventh finger hole (which extends the range of the instrument, while also allowing for the more accurate rendition of many ragas) and the development of the bass bansuri. Perhaps Pannalal Ghosh's greatest contribution however was his insightful adaptation of the classical vocal style and its presentation on the bansuri. A consummate artist who's virtuosity was equaled by the depth of his understanding, Pandit Pannalal Ghosh singlehandedly elevated the status of the bansuri to that of an instrument capable of expressing the sublime and wondrous nature of the classical vocal style.

Originally posted by: Barnali

Thanks Babu.will add for sure. i hav some old recordings of his. will upload them. had few live videos too. let me hunt them out.

Waiting Didi ASAP please. Thanks B Di you are simply wonderful.

PT. HARIPRASAD CHAURASIA

FLUTE - THE BANSURI:

The Bansuri, flute is one of the three original forms of rendering Indian Classical music according to ancient scriptures - Vaani (Vocal), Veena (String) and Venu (Flute). According to Hindu mythology, it is the instrument of Lord Krishna and is thus very popular for playing folk music. The introduction of the flute in modern Indian Classical concerts has been rather recent however, and the late Pandit Pannalal Ghosh has been widely recognized for this achievement.

Pandit Hariprasad Chaurasia further enhanced the bansuri playing style, with his innovative fingering and blowing techniques and took bansuri music to yet higher level.

The Hindustani bansuri flute usually consists of a blowing hole, six fingering holes and one tuning hole (though in some cases, flutes do not have tuning hole). The pitch of the bansuri varies depending on the length and diameter of the bore. The longer the flute, the deeper its pitch. However, longer flutes are also difficult to blow and finger. To balance this tradeoff, most Hindustani bansuri players tend to choose bansuri with pitch E (safed teen) and this flute is approximately 30" long.

Naturally, the bamboo suitable to make bansuri is not available freely. In its entire length, the flute bamboo should not have a node. If you think about it, it is not common to find a bamboo that is thin, straight and yet does not have a node for 30". Such bamboo species are only found in the jungles of Indian states of Assam and Kerala. Before making the flute, the bamboo is seasoned so that the natural resins strengthen it. It is then blocked with a piece of cork or rubber stopper from one end. Holes are then burned into it as drilling holes often breaks the bamboo. The proportions between bamboo length, bore, diameter of each hole and the location of stopper cork are extremely critical for getting the tuning of the bansuri right. Strings are then tied around the bamboo for both decoration and protection.

The Bansuri is a versatile instrument. It can easily produce all basic elements of Hindustani music variation such as meend (glide), gamak, kan. Versatile bansuri players also produce emotions in their music through variations in blowing style.

The Bansuri is a very simple instrument. Unlike string instruments, it does not need tuning once it is tuned by the flute maker. However, as Hariji puts it, it is Krishna's instrument and the Lord has made it deceptively simple. To become adept in the bansuri, one needs many months of practice.