Tributes in melody

At a festival of the richest of musical notes, a one-minute silence echoed across the Army Stadium, as tens of thousands stood still in tribute to eminent artist Qayyum Chowdhury, who passed away after falling unconscious on the very stage in front of them at the Bengal Classical Music Festival yesterday.

In many ways, yesterday's fourth night of the festival was the most-anticipated of all: Pandit Hariprasad Chaurasia's monumental following in Bangladesh, Kaushiki Chakrabarty's growing popularity among previous attendees of the festival, the unique conglomeration of the two hemispheres of Indian Classical Music -- Hindustani (North Indian) and Carnatic (South Indian) through Pandit Tejendra Narayan Majumdar's sarod and Ganesh Rajagopalan's violin, and two young stars of classical music -- sarod duo of brothers Amaan and Ayan Ali Khan. Unsurprisingly, audiences swarmed in unprecedented numbers.

But it was the Bangladeshi artistes who took the stage first: Amit Chowdhury put up a disciplined display of Bharatanatyam, presenting Natesha Kauthuvam, Natanam Adinar, and a Nattevangam Geetam, followed by a Tilana. He was followed by tabla artiste Swarup Hossain presenting uthan, chakradar and various teentaal.

Eminent educationist Professor Emeritus Dr Anisuzzaman was the chief guest at the official inauguration of the day, with Square Pharmaceuticals CEO Tapan Chowdhury and Qayyum Chowdhury present as special guests.

In what would be his last minutes, Qayyum looked back on history of nurturing arts in Bangladesh and how folk music inspired their practice of art. He termed Bengal Foundation Chairman Abul Khair an “indomitable, courageous man” for dreaming and realising the festival, and asked the audience to pray for the visionary's long, healthy life. He came back prior to Professor Anisuzzaman's official opening of the evening to say something he had forgotten to mention, but before he could say it, he collapsed on the ground, senseless.

About an hour later, Professor Anisuzzaman returned on stage and conveyed the tragic news of Qayyum Chowdhury's passing. Recalling his close friend, he said the evening would go on as planned as a tribute to Qayyum Chowdhury's memory.

In between, Amaan Ali Khan and Ayan Ali Khan -- sons of legendary sarod maestro Ustad Amjad Ali Khan -- next took stage to stir up melodic whirlwinds on their sarod; first on the traditional evening Raga Jhinjhoti, then on Raga Rageshree and in closing, with a heartwarming Bhatiali dhun. 

Sameehan Kashalkar, son of Pandit Ulhas Kashalkar, then came on stage and dedicated his recital to Qayyum. He presented a serious, meditative Raga -- Malkauns -- with his style reminiscent of his father and guru, as was his choice of Raga.

People waited in long queues at midnight when this report was filed, with the stadium filled to its brim, as anticipation continued to build up for the three heavyweight performances to follow. But even with the heaviest of crowds, the atmosphere remained somber, and the music on offer remained the richest of tributes that could be paid to one of the greats of Bangladeshi art -- Qayyum Chowdhury.