Lokogandhar

Bhabani Shankar Dasgupta

1
During the later decades of the 20th Century music gradually turned into a lucrative trade for some performers who became top ranking artistes. They demanded exorbitant remunerations for their recitals and impresarios were forced to satisfy their demands only to draw a large audience to their concerts. The young maestros of the 21st Century are demanding even greater amounts and concert organizers cannot but pay such fabulous sums to them. They are doing so, only because they want a large number of listeners who are so infatuated with these maestros that they are ready to squander all their savings only to hear them.

But during the later decade of the 18th century and the early decades of the 20th Century the scenario was totally different. Eminent virtuoso never hankered after wealth or property. They wanted musically educated listeners who had the grey matter to appreciate their recitals. While my grandfather was a student of Presidency College he happened to come into contact with one of the greatest Sitar maestros of that era. After his classes he often visited the maestros abode at Mechuabazar to hear him. The maestro always greeted him with a hospitable smile; thereafter he continued his practice and my grandfather listened with rapt attention.

On one occasion my grandfather (who was elected the cultural secretary of Presidency College at that time) went to the maestro’s residence to invite him to the Annual Festival of the college for a recital. In those days the professors of Presidency College took a great interest in classical music and literature. Frivolous music and dance forms were never tolerated within the college premises. When he saw my grandfather he immediately stood up and warmly welcomed him. Without going into any sort of rigmarole my grandfather humbly requested him to command perform at the Annual Festival of Presidency College the next week. The maestro fervently agreed and when my grandfather inquired about his remuneration he replied that Rs. 50/would be enough for him.

The ANNUAL FESTIVAL of the college was held the next week and the maestro arrived there with his TABLA accompanist, He was cordially received by my grandfather and his friends who escorted him to the concert hall. Having entered the hall, the maestro tuned his instrument carefully. Thereafter he made a courteous bow to the audience and started playing Raga Puria, It was one of the best renditions of this RAGA my grandfather had ever heard. His captivating recital mesmerized alt the listeners within a few minutes. They were so engrossed in the music that they remained stuck to their seats till the end of the recital.
The concert being over, the maestro came down from the stage with his instrument and my grandfather respectfully handed an envelope containing a fifty rupee note to him. The maestro was so delighted that he heartily blessed him and wished him a long life. Thereafter my grandfather and his friends escorted the maestro and his assistants to a motor car and they went away, the reader will be surprised to know that this illustrious virtuoso was none other than USTAD INAYET HUSSAIN KHAN.

Such exemplary humility is never expected of professional artistes nowadays. Hence the story may seem j, incredible to a 20th century youngster. The musician who is the subject of this story was one of the stars performers of yesteryear’s but nevertheless he considered music to be a sort of meditation and not as a money making device.

References :

1. https://en.wikipedia.org/wiki/Ustad_Bade_Inayat_Hussain_Khan
2. https://www.itcsra.org/TributeMaestro.aspx?Tributeid=28                                       3. https://www.youtube.com/watch?v=puE7imPAVco