“The media and frequent classical musical festivals, play an important role in promoting talented musicians”.Photo: Mumit M.

When we arrived at classical artiste Asit Dey's residence, he was encircled by several of his students. Oblivious to our presence, he continued the bandish “Sumiran Karo Bhajo Raam Naam Ko” in ragaa “Aaliyah Bilawal.” Finally he took time off to talk to this correspondent about his mission and vision of classical music.
Dey's passion for music dates back to his early years. Since his father Romani Mohan Dey (Mithun Dey) was a classical artiste and teacher, the young Dey grew up in a musical ambience at Akua in Mymensingh.
Early on, classical music beckoned Dey. “I used to lie awake many nights in my youth and avidly listen to classical music playing on radio stations of Akashvani, India. I was blissfully aware of listening to performances by Ustad Amir Khan of Indore Gharana, though I knew nothing about the maestro. Only an unknown ecstasy played inside me. My unquenchable thirst for hearing him again compelled me to tune into other stations until the dead of night. Later, I collected a number of cassettes of Ustad Amir Khan to appease my thirst. Actually, from then, the rendition style of Ustad Amir Khan paved the way for me to learn classical music,” he said.
After Ustad Amir Khan's demise in 1974, Dey set his heart on learning music under Pandit Amar Nath, a direct disciple of Amir Khan. Later, after passing his BSC examination in 1986, Dey went to study classical music at the Delhi-based Shri Ram Bharatiya Kala Kendra under a scholarship offered by Cultural Ministry of Indian Government on September 30, 1987. The scholarship is now popularly known as the ICCR scholarship.
“Reaching Delhi on October 3 in 1987, I was crestfallen, as I found that Pandit Amar Nath had a full batch of students. I started learning under his disciple Srimati Shanti Sharma, my first guru. In my very first class I was astonished to hear her vocals, as it was a replica of Ustad Amir Khan.
“One year later, Shanti Sharma took me to Pandit Amar Nath. Following a demo session on raga “Yaman”, he asked 'Do you want to learn music under my tutelage? If yes, then take permission from Shanti.' I proposed to learn under both of them on alternate days to which he didn't disagree. It was truly a blessing for me to learn under two gurus simultaneously. My learning would have been incompletely if Pandit Amar Nath hadn't given me that opportunity. I studied under Pandit Amar Nath from 1988 to his death in 1996,” asserted the artiste.
Dey's favourites ragas are “Yaman,” “Bhairo,” “Malkauns” and “Darbari Kanhara.” Questioned on which ragaa appeared tough to him as a learner, the artiste cited ragaa “Tori”, which continues to intimidate him.
During his stay in Delhi, Dey was a regular classical artiste in All India Radio from 1996 to 2004. Besides performing in Delhi, the singer also performed classical music in other parts of India like Punjab and Jammu at that time. In 2005, Dey performed in New York and in Arizona of USA.
Later, Dey returned to Bangladesh and joined Chhayanaut Sangeet Bidyayton as a teacher of classical music in 2004. Apart from teaching at Chhayanaut, he is also the head (Department Coordinator) in the Music Department of University Of Development Alternative (UODA), where he joined in 2005.
An album featuring pristine performances by the artiste is in the pipeline. Questioned on how long it takes to become an accomplished classical singer, Dey replied, “It depends on the penchant, inborn genius and complete dedication. Music should be a learner's very existence and soul. If the two separate, learning will be interrupted. Merit should be slotted in practice so that intuitive brilliance can flourish.”
“My only mission and vision is to produce at least 5 to 10 committed classical music performers in Bangladesh, which is why I returned to the country,” said the artiste.
Pointing out the problems and prospects of classical music Dey said that good songs would continue to lose out, if good performers were scarce. The media and frequent classical musical festivals, he said, have a role to play in promoting talented musicians. Both public and private patronage, he concluded, could help on this front.