Polished to perfection

Pandit Debu Chaudhuri, who completed 81 years recently, talks about the intricacies of his gharana and how he created new ragas.

June 02, 2016 08:38 pm | Updated September 16, 2016 10:02 am IST

Pandit Debu Chauduhri Photo Shiv Kumar Pushpakar.

Pandit Debu Chauduhri Photo Shiv Kumar Pushpakar.

The Padma Bhushan awardee Pandit Devabrata Chaudhuri, popularly known as Pandit Debu Chaudhuri, completed 81 years of his fruitful life on 30th May this year.

Pandit Debu Chaudhuri has been decorated with the Sangeet Natak Akademi Award for his contribution in the field of music. Formal Dean and Head, Faculty of Music & Fine Arts, University of Delhi, he is a reputed sitar maestro who has been performing all over the world for more than six decades.

An educationist of highest order, a devoted Guru, author of several books on Indian music and creator of many new ragas, Pandit Debu Chaudhuri talked about his musical journey on the sidelines of UMAK festival.

The first thing that touches one’s heart while talking to him is his immense Guru Bhakti and devotion for his Guru. The senior most disciple of Ustad Mushtaq Ali Khan of Senia Gharana, Chaudhuri established UMAK (Ustad Mushtaq Ali Khan) Centre for Culture in his Guru’s memory, to keep up his name and his music alive.

Excerpts from an interview:

How did this journey begun; were you born into a family of musicians?

I was born in Bangladesh in a place called Mymensing and took a departure to music from a business family. My first impressions of classical music were formed at a tender age of four or five years, because one of my uncles used to listen to classical records of musicians like Ustad Abdul Karim Khan. I joined a music school in Kolkata, when I went there for my schooling; and I realised that sitar was my first choice. I still remember my elder brother bought me a small sitar for Rs. 25. I took my early training in music under late Panchu Gopal, before I reached the great ustad of the Senia Gharana Ustad Mushtaq Ali Khan. It was not easy but by the God’s grace after testing me for a couple of years he accepted me as a disciple.

What was the method of his training?

I was a radio artist by the time he accepted me. The first thing he asked me was to stop playing for radio and start with the basic ‘paltas’ (exercises) on a sitar of 17 frets, a speciality of this gharana. He would not proceed until the earlier lesson was polished to perfection.

This was just one side of the taalim but the other and more important aspect was the precious opportunity to listen to the ‘Gun-Charcha’ or the scholarly discussions he used to have with the stalwarts who visited him off and on.

What are the salient features of your gharana?

The Senia Gharana was formed by the famous Masit Sen from the lineage of Tansen who played the sitar of 17 frets. The Senia Gharana, named after Tansen, sticks to this rule of playing on the sitar of 17 frets, till date. The first and foremost feature of my gharana is total tunefulness. My Guru used to say “Sur hi Ishwar hai” equalling the pure note to god. The second thing is the purity of raga. The application of notes is very important here, because ragas demand very specific notes. The same note may have a different shade and colour in a different raga. The Komal Dhaivat of Shri for instance, would be very different from the Komal Dhaivat used in ragas like Bhairav or Ramkali. My Ustad was extremely careful to keep the spirit and purity of the raga intact.

The Senia style of playing is based on Dhrupadi style, which refrains from ‘murki’, ‘zamzama’ type of light-hearted ornamentations and maintains the sober ‘meend’ type slow oscillation while going from one note to another. The embellishment should be in conformity with the spirit and nature of the raga.

You have created many new ragas. What was your Ustad’s reaction to this?

Yes, I have created eight ragas. The first “Vishveshwari’ was in memory of my father Vishveshwara Chaudhuri. When I told him about my new raga and played “Ashiqui Lalit’ to my Guru, which I created in memory of his guru Ustad Ashiq Ali Khan, he kept quiet for a long moment and his pensive silence was his ashirvaad (blessing) that inspired me to create six more new ragas including ‘Prabhat-Manjari’ in memory of my departed wife.

You have the experience of teaching in an institution and also in the traditional way, the Guru Shishya Parampara. What is the difference in your experience?

It depends on person to person. I came across dedicated students in University and non-serious ones in traditional teaching too. The prescribed course, while teaching in institutions becomes a hindrance if you want perfection. But hard work and dedication is the main thing that makes a difference ultimately.

I established the UMAK Centre for Culture in the hope to carry forward the rich legacy and wisdom bestowed upon me by my illustrious Guru, but I’m disappointed to see that very few opt for sitar as compared to guitar, drums and keyboards that cater to the trend of today’s music.

Are you concerned about the diminishing popularity of classical music?

No, not at all. It’s my firm belief that our age old classical music will prevail over this ‘Shor-Sharaba’. These are phases that come and go. We still have the Vedic chants in the same swaras. The classical arts are the true wealth and identity of our country.

What dreams and plans you have at this juncture of your life?

I’m truly satisfied with what God has given me, but I have come to realise that there is lot to be learnt even today. I wish my Guru was alive to teach and guide me. My only dream and wish is to immortalise the glory of my Guru and live up to his expectations by carrying forward his precious legacy.

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