Late Pandit Pannalal Ghosh - Page 2

Thanks Barnali and Qwest. I think the greatest ability needed for playing bansuri is breath! To be able to blow so much air for hours and still breathe normally requires enormous physical strength, isn't it?

Raga to Rock, May15 – June 15 1999

Up There with the other great Flautist, Pandit Ranendranath 'Ronu' Majumdar, talks about his esoteric craft.

PANDIT RANENDRANATH Majumdar, popularly known as Ronu Majumdar, is considered one of our leading Flautists. He belongs to the Maihar Gharana which has to its credit musicians of the eminence of Pandit Ravi Shankar and Ustad All Akbar Khan. Ronu's mature and enriched Flute recitals truly reflect the features of the Maihar Gharana, with his tremendous breath control, presence of mind and dignifled handling of the ancient instrument. He displays an unlimited range of improvisations, and generates sound waves that gently encircle the listener and ultimately overwhelm him. When he plays his jhod portions, he creates an atmosphere of celebration and gaiety. The sober expansion of the ragas reveal his traditional grooming. Above all, the simplicity and modesty with which this profoundly religious man has digested his success, speaks a lot about his character.

Ronu has always been a star attraction at all major music festivals in India. A globe- trotter, he has performed all over Europe and America, and his programmes have had immense impact, motivating some leading practitioners of Western music to launch a series of musical encounters with him. He has played innumerable Jugalbandis with leading instrumentalists. He is an innovative composer and has scored music for projects like 'Carrying Hope', Travellers Tale', Song of Nature', 'Koi Akela Kahan', etc. He also appears regularly on television concerts hosted by channels like Star Plus and Music Asia.

Ronu's training in music began very early in life. He was born in Benaras. His father detected his love for music and saw that he was a gifted child. At the age of four he took up the Flute. "Flute for me was a favourite sound since childhood", says Ronu. He began playing the Flute under the guidance of his father Dr.Bhanu Majumdar. He came to Bombay in 1973 with his father who was a senior disciple of Pandit Pannalal Ghosh, a pioneer of the Flute. Later he switched to Vocal music under the tutelage of the late Pandit Laxman Prasad Jaipurwala. His elder sister is a very good singer too. Says Ronu, "I learnt Vocal just for a better and deeper understanding of Hindustani Classical music. Flute always remained my first love." After a while he reverted back to the Flute, this time under the guidance of Pandit Vijay Raghav Rao. He is a devoted disciple with tremendous respect and reverence for his guru. The renowned Flautist moulded Ronu and turned his humble pupil into an accomplished instrumentalist.

"The road to success has been natural and steady for me," says Ronu. "I had never consciously planned to become a professional musician. It just happened naturally. In the initial years I used to stay at Ulhasnagar; I used to play in temples and gurudwaras. Invitations started flowing in for private programmes. My family was going through a financial crunch, so these small assignments were helpful. By this time I had realised that music was my life. This was the only thing that I enjoyed. If you desire to be deeply rooted in music you have to take it up professionally." In 1981 he received an offer from RD Burman. From that point onwards he played Flute for all of Burman's songs, right up till '1942 – A Love Story'.

His career took an upturn in 1991 when he got an invitation from Malhar Rao Kulkarni for a Flute festival which he had planned in honour of four of the senior-most Flautists: Hariprasad Chaurasia, Vijay Raghav Rao, Davendra Mudleshwar and Pandit Raghunath Seth. Ronu was asked to play the last item.Says he:

"I was very nervous for I was asked to play in front of established and major artistes of a high calibre."

He played 'Miyan Malhar' and from that time onwards, he says, "I never looked back". Offers started flowing in from organisers of large concerts, music companies, etc." The first major offer was from Magnasound for 'Song of Nature I'; 'Travellers Tale' and 'Song of Nature Part II' followed soon with Taufique and Raju Singh, the composer. Ronu composed for Kavita Krishnamurthy first private album, 'Koi Akela Kahan'. lt would seem as if the almighty above has recognised this man's worth and bestowed on him an unique opportunity in the form of an album, 'Raag Parmeshwari'. Shyam Nayampalli, the A&R manager at Magasound, says, "Ronu was desirous of doing something different, unique in identity and solo. I had a vinyl record of 'Raag Parmeshwari'. This raga was conceived and created by Pt. Ravi Shankar. He has played this raga not more than eight to ten times. After him, in all these years, no one has ever played this raga. Since Pt. Ronu Majumdar comes from the same gharana, and two generations down, he is the disciple of Pt. Ravi Shankar, why should he not try to play this raga? I suggested, and Ronu accepted the challenge to achieve this uphill task." Says Ronu: "Shymaji told me that Pt. Ravi Shankar's original composition, of which he has a record, is so touching that it brings tears to his eyes. He asked me whether I could get that effect on my Flute. Shyamji said 'If you can do it, the music fraternity would remain indebted to you'."

Ronu asked for time, which Magnasound gave him in abundance. Says he, "Though I had learned this raga from my guruji, Pt. Vijay Raghav Rao, it was not enough. To do full justice to this composition it had to be learned from its original creator. To feel the raga with all its intricacies, its actual structure and emotion, it was essential. Fortunately I got that opportunity. Panditji was performing at that time in London, and was recording 'Chants of India' with George Harrison. I was called there. I played on most of his project. In 1996 November I told Guruji that I want to play this raga for Magnasound. He was very pleased. He taught me the raga in all its totality. Panditji imparts, besides theoretical knowledge, the divinity and spirituality of Classical music to his students. I learnt 'Raag Parmeshwari' from him. After coming back I practiced for six months. Everyday, early in the morning, I practiced the raga for four hours to feel it very closely within me. I did not practice any other raga."

Ronu says that this raga is like an spiritual offering. It has got spiritual loneliness. Each andoIan of the note is full of depth and gambhir ras (seriousness). There is not a single chanchal bhav in it, which is why it should be played early in the morning. Ronu says the time conception behind the formation of Indian ragas is an unique feature. Nowhere else in the world will you find this. Ronu has learnt Western music from Stanley Gomes. "Pt. Ravi Shankar always says you must learn all types of music to appreciate your music," says Ronu.

'Raag Parmeshwari' is a combination of three raga 'Rageshwari', 'Bageshwari'and 'Ahir Bhairav'. Pt. Ronu Majumdar has rendered this raga with a Gayaki Angh for the first time on Bansuri. Abhijit Banerjee accompanies on the tabla. The album is considered a landmark. On one side we have 'AIap Jod Jala' in the Gayaki Angh, which is an unique approach in itself. On the other side, he has tried to maintain the authenticity of Dhamar, taking Bada Mukh ka Tabla which sounds like Pakhawaj. The raga comprises of the following notes in the Arohana (ascending) 'Sa Re Ga Ma Dha Ni Sa', and the Avorohana (descending) 'Sa Ni Dha Ma Ga Re Sa'. There is a similarity between a Carnatic raga known as 'Saraswati'. The notes are the same, but the Komal Ni (flattened seventh note) is not used in the Arohana in 'Raag Saraswati'.

Ronu says, "Panditji's personality and image have left a lasting impression on my mind and soul. Panditji has shown to the world that your character and personality reflect in your music. Commercially, we have to gimmick a raga. Panditji emphasizes the fact that while copying a raga, we must not change its structure. Purity is the second name of Classical music."

Ronu feels Panditji has changed the conception of Indian traditional music. He does not believe in the old competitive style, where one ustad would try to rise over the other. Earlier, a Jugalbandi was more like a battle. Today, thanks to Pt. Ravi Shankar and Ustad Allah Rakha, it is team-work and companionship. Ronu also says that if a performing artiste himself does not enjoy and feel elated while playing, how can he extract the same emotions from the general public, from his listeners? He believes that music to touch the heart must come from the heart. Thus, 'Raag Parmeshwari' has been rendered by Ronu with his entire heart, soul and being. He adds, "Shyamji has loved and felt 'Parmeshwari' more than me. For the fiirst time in my life, ii has happened in my music career that someone from a music company has suggested that I should sing this raga. I'am happy that I have done it."

What according to him is more difficult, Vocal or Instrumental music? He says in Vocal music there is complete freedom. "An instrument has its own limitations. So it is more difficult to arouse the desired effect. In Vocal, from 'Sa' to 'Sa', no meen is interrupted. Sarangi is the closest to Vocal as for as meen is concerned. As far as sound is concerned, the Flute is the closest for Vocal, because its sound comes from the lungs, whereas the Sarangi and Violin are played with the hands.

What future does he see for Classical instrumental music in India? "Oh! It's very bright," he says. "More and more people are taking to instruments. People are learning the Sitar, Flute, Santoor. Flute is becoming very popular. Pt. Hariprasad Chaurasia picked up where Pannalal Ghosh had left. His contribution is great in the popularity of Flute. We, too, are trying in our own way. Bansuri is the most natural instrument. It originated in the jungles. The idea occurred while listening to the sweet notes generated by the blowing of wind through the holes carved on the bamboo sticks by pests and insects. For centuries it was the principal pastoral instrument. It was the genius of the late Pt. Pannalal Ghosh that elevated it to the status of a concert instrument. It shall always remain popular." How can we develop the taste for Classical music? Says Ronu: "I would love to answer this. I have always told people that on the spur of the moment do not comment that, oh, Classical music is very heavy. I can't understand it. Don't try to understand music, try to feel it. I have toured America and Europe. There I have seen four-year-old boys playing Mozart and Beethovan tunes. See! They are conscious. We need to develop consciousness amongst growing children. Western Classical music is a common subject in schools and colleges. In India we need to do the same thing. Indian Classical music should be made a common subject in schools and colleges.

"Classical music is not loud; it is not meant for stadiums. It is meant for a small audience and in that respect it is always going to live on," says Ronu. "Nowadays we have Fusion music. Some people say, 'Why go into Fusion, it creates confusion'. My answer is 'Fusion becomes confusion if the purity of the ragas is not maintained'. Fusion done in the purest form will help to create love and consciousness towards Indian Classical music at home and abroad. We can reach a wider audience."

Ronu says three great personalities have had an immense impact on him: Vivekananda, Osho Rajneesh and Pt. Ravi Shankar. Meditation and spiritualism are one step higher than music, he says. "An artiste should put emphasis on the emotional and devotional part of music. He should be himself and most genuine. His own satisfaction and, fulfillment of his spirituality, will reflect in his work."

As a composer, the project which is closest to his heart is 'Carrying Hope'. It was conceived by Asha Rani Mathur. "I have not used a single depressing note on this album. How a mother feels after she conceives a child, till she delivers the child. This is what the cassette is about. As a music director this is my most precious creation," he says. People who never played under anyone have given their music on this cassette; Ashwini Bhide Deshpande sang Tarana in 'Raga Bahar' for the celebrations on childbirth. She has sung a lori. 'Carrying Hope' is a wonderful creation. Bhauddin Dagar has played on it. N Rajam, who is a Padmashri winner, has played for it.

"I would accept good compositional offers. I will give my original music if people are ready to accept. Originality and purity are two aspects on which I shall never compromise," says Pt. Ronu Majumdar.

Shyamji, of Magnasound, adds, "We are doing a unique project, a Jugalbandi between Remo Fernandes and Pt. Ronu Majumdar. Remo with his thorough knowledge of Western music on one side and Pt. Ronu Majumdar, with his intricacies in Classical, on the other. Their Jugalbandi is immensely captivating."

Originally posted by: punjini

Thanks Barnali and Qwest. I think the greatest ability needed for playing bansuri is breath! To be able to blow so much air for hours and still breathe normally requires enormous physical strength, isn't it?

Yes Sahana true. It is really like a breathing exercise. I even remember when at one time I was having breathing problems the doctors had asked me to stop playing it. But then could not do so and have again come back to it.

Apart from that....... I learnt from my own experience that it is crucial to learn the right technique of opening/closing the holes and placing the fingers over the holes. The muscles get used to incorrect finger positions quickly that are very hard to correct afterwards. Only a good teacher can spot and correct problems in this particular area. The ill effects of poor techniques show up only later when the more complex gamakas and faster swaras are required to be played. The technique of smoothly gliding from one note to another without breaks at slow speed is another thing to be carefully learnt, it requires opening/closing successive holes with perfect timing.One should avoid doing these movements quickly, something one is tempted to do since it hides imperfections.

And yes playing alaapana at the very early stages of learning flute is always discouraged. Alternately, practising Chittai, Jhandai , Thaatu varisais and alalnarams in tri kaalam is a good excercise.

Great thread (as always), Qwest ji... thanks!!!

Originally posted by: Bhaskar.T

Yes Sahana true. It is really like a breathing exercise. I even remember when at one time I was having breathing problems the doctors had asked me to stop playing it. But then could not do so and have again come back to it.

Apart from that....... I learnt from my own experience that it is crucial to learn the right technique of opening/closing the holes and placing the fingers over the holes. The muscles get used to incorrect finger positions quickly that are very hard to correct afterwards. Only a good teacher can spot and correct problems in this particular area. The ill effects of poor techniques show up only later when the more complex gamakas and faster swaras are required to be played. The technique of smoothly gliding from one note to another without breaks at slow speed is another thing to be carefully learnt, it requires opening/closing successive holes with perfect timing.One should avoid doing these movements quickly, something one is tempted to do since it hides imperfections.

And yes playing alaapana at the very early stages of learning flute is always discouraged. Alternately, practising Chittai, Jhandai , Thaatu varisais and alalnarams in tri kaalam is a good excercise.

Wow Bhaskar, that's a lot of info. So you play the flute. That's great! How many years have you been playing?

Wow!!, Amazing !!

Such lovely articles and insights. I wonder how heavy the flutes are ..considering their lengths. Thank you dada, didi, and Bhai for the valuable info..

Hopefully didi & dada will upload lots of recitals..😛

Sahanaji, Bhaskar plays the flute very well.Infact he had uploaded one of his recitals in his MOTW thread based on Raag Bhopali. He is just too good.

I started when I was in class 11. I first saw a person selling it in Shimla and also playing. Got my Bhai agree to buy it for me. Then everyday when I used to come back from school I used to sit with this man in the Lakkar Bazaar Shimla and learn. That was the first lessons I got on flute. Then when I got selected for BTech and played with it myself.

After I came to KgP I got a proper teacher and started learning properly. But it is this very technique of closing and opening of holes that I am facing still. And thats because of the reason that I did not start learning in the proper way. Hope I get to rectify it soon.

Wonderful! I can imagine you playing Pahadi dhun in the hills of Himachal, Bhaskar. Somehow, I love to listen to Pahadi on the flute.

Originally posted by: punjini

Wonderful! I can imagine you playing Pahadi dhun in the hills of Himachal, Bhaskar. Somehow, I love to listen to Pahadi on the flute.

True,

Bro can you upload one such recital for us ? Just to hear the rustic carefree feel of the pahari tunes...

Originally posted by: adi_0112

True,

Bro can you upload one such recital for us ? Just to hear the rustic carefree feel of the pahari tunes...

Will you please Bhaskar Da. Love to here you.!!!! Adi thanks for the suggestion.