A three-day masterclass on evening ragas by Pt Buddhadev Dasgupta discussed the nuances of Hindustani classical notes. The sarod maestro talked to Utpal K Banerjee
Masterclass is a phenomenon of recent origin in the Western performative world. The idea has been to gather under one roof pupils, already initiated in a particular genre, and to take them, over a strictly limited period, through advanced steps under an acknowledged master. Basically, the concept is of crystallised teaching, where distilled essence from the artistic frontiers could be soaked up in a short time-span, under enlightened guidance, by those who know the rudiments already.
The recent IHC music masterclass on evening ragas had, in contrast, quite a mix in mind. “Open to students of vocal and instrumental music of all ages as well as all connoisseurs,” the intention was to “learn the nuances of evening ragas of Hindustani classical music, along with creation of tanas, in a three-day masterclass.” The idea was apparently modelled on the experience of Gandharva Mahavidyalaya where masterclass is held for sundry students. “We wanted to extend the same notion to appreciation as well as teaching, conducted by the sarod maestro, Pt Buddhadev Dasgupta,” said the organisers. On whether this did not result in an uneven group, the IHC’s response was, “The participants did raise questions of both elementary and advanced kind, making it quite an exhilarating blend.”
Holder of a brilliant mechanical engineering record and disciple of the legendary sarodiya Radhika Mohan Maitra, Padma Bhushan Buddhadev Dasgupta is credited with as many as 17 national programmes in the AIR.
An interview with an always reticent Pandit-ji:
Since it was a mixed class, how did you structure the presentationIJ
As the participants were not of the same caliber, what was there to teachIJ Some knew the basics and raised interesting queries, others were novices. There was no control on quality. I only exchanged knowledge, explained raga-structures and gave demonstration: played by my associate Mallar Rakshit on sarod.
How do you characterise evening ragasIJ
They are primarily to be sung and played in the later half of the day. There are Bhim Palasi and Patdeep for late afternoon; Yaman and Kalyan for early evening; Puriya and Tilkak-Kamod for late evening; Malkauns and Chandrakauns for midnight.
One finds an abundance of soft semi-tones in the evening ragas. Yet similar soft semi-tones abound in morning ragas, too. How do you make the distinctionIJ
It’s absolutely true. But I don’t make the distinction; I only maintain it, as made by the cognoscente long, long ago.
But Carnatic ragas don’t profess any time-distinction of morning or evening. Any commentsIJ
No comments. In the North, some Carnatic ragas have proved popular, such as, Hamswadhani and I play them.
Yet, there are such ragas as Carnatic Hindolam akin to Hindustani Malkauns; Southern Yemini-Kalyani corresponding to Northern Yaman; their Mohanam similar to our Bhopali. Surely, the same evening-label should apply to these Carnatic ragas…
Hindustani ragas put subtle, but different, stress on notes. Carnatic ragas distribute the stress equally. Perhaps that makes some difference.
Is there any difference in teaching-learning of music across the VindhyasIJ
In the South, every household teaches music to its children. In the North, at least schools and colleges should run music class: compulsory or optional.
Do you think every instrument player should learn vocal music firstIJ
Yes, it’s essential.
Are there evening ragas for happy music and some for sad musicIJ
Not really; it’s the laya (tempo) that makes the difference. Any single raga is capable of multiple moods. Sung/played at vilambit (slow) tempo, it creates sad mood. When sung/played fast, the mood can be gleeful.
lastly, at least for appreciation purpose, there should be masterclass for morning ragas, which we hear far less than the evening ones…
Very true, but it’s for the organisers — like IHC — to arrange.