Tales of maestros and Tipu Miyan...
Music lovers can be classified into several categories. At a typical musical soiree, you find one with a thinking mind -- the quiet type, who would judge a song from the technical aspects. Another, who becomes euphoric with good music. Then there is the big group with little or no knowledge of the intricacies of music, but genuinely enjoying it. And yet another -- a cross section of 'music minds', consisting of VIPs, socialites, writers, politicians and executives, for whom it is actually less of music and more of a social gala to attend.
When the illustrious Dilip Kumar Roy (son of D.L. Roy) returned to Calcutta (Kolkata) for the first time after seven years since he had moved to Pondicherry, he found that the music scene in the city had changed for the better. Jnanendra Prasad Goswami, Vishmadev Chatterjee, Sachin Dev Burman and Tarapada Chakrabarty brought in a new trend in Bangla music. D.K. Roy happily once again bounced back into the music fold of Calcutta, arranging musical soirees where well known luminaries were often present.
At one of these programmes, the “Devdas” man, Sarat Chandra Chatterjee was invited. Upon entering the hall room, he whispered to Dilip Kumar Roy, “Uni thamtey janento”, insinuating that the musician on stage might extend his recital too long. Gandhi was also present at that programme and while it was on in full swing, he was collecting “chanda” defying all music traditions. Tagore, meanwhile, closed his eyes and listened with full concentration. After the programme was over, Gandhi was asked for his opinion of the recital. “Of course it was very nice but I still like my 'charka' songs more,” he said. It is not known whether today's money collection at mosques (while the “waaz” is on) and temples was an outcome of Gandhi's act or the other way round. But certainly it was not in good taste to engage in money collection in the midst of a musical soiree.
Exponents of classical music are also of different types. One with a tendency to show off during the recitals. Instead of the song, the singer concentrates more on the wrong side of it, i.e. the gimmicks and words of wisdom. There is of course the serious type whose sole aim is to try for the best no matter what the audience is. But on occasions when the vibes with the audience do not match, they too make fools out of you!
The great Abdul Karim Khan of Kirana gharana for some years had in his company one Tipu Miyan. Tipu Miyan was his best friend until his passing away. They shared the same food and drink, even the same room. Wherever Khan Saheb went, Tipu Miyan accompanied him. Khan Saheb even gave him lessons on music and Tipu Miyan took as much as he could absorb.
Once at a music programme in the town of Satara where Khan Saheb was invited, Tipu Miyan was also billed to sing with him. The curtain went up and Khan Saheb stepped in with his two disciples who were to be on the tanpuras. Khan Saheb then gave a brief description of Tipu Miyan's forefathers and the training he had undergone. The crowd listened patiently. Khan Sahib called Tipu Miyan on to the stage. He immediately responded and took his seat next to him. Tipu Miyan had a string of pearls round his neck to draw the attention of the listeners.
“Thik se gaana Tipu Miyan ; yeh izzat ka sawal hai ” (Please sing well. It is a matter of prestige).
Tipu Miyan nodded confidently, little realising that he was to match “sur” with one of the all-time greats of classical music! Khan Sahib began -- “sa” and it was matched by Tipu Miyan's note very much in tune. Then Tipu Miyan followed Khan Saheb with “re”, “ga”, and so on to the “sa” on the higher octave, staying there without a quaver. The crowd cheered and Khan Sahib acknowledged it with folded hands!
Tipu Miyan was Khan Saheb's pet dog. There is no record of whether it was Khan Saheb's revenge on the audience or his effort at training man's best friend.
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