Classical music is a challenge and involves a lot of struggle. Every performance has to be better than the previous one. Nothing can be stagnant.
Pandit Tejinder Narayan Majumdar in conversation with Dr Rashmi Sahi & Dr Deepa Vanjani.
The weather was as dry as it could be, very unlikely for a middle of July day, when usually rains set in, in Indore. But that very day raindrops poured forth on the soul of the audience, as Pandit Tejinder Narayan Majumdar [b.17 May, 1961] played raga ‘Mia ki Malhar’ [a raga meant specifically for the rainy season as ragas are both season and time-based] on his sarod. The sarod recital was one among the series of SPIC MACAY events organised to commemorate 25 years of the organisation’s Indore Chapter, by its local volunteer Neal Jain.
We later spoke to the Grammy award nominee, the Kolkata-based maestro, Pandit Tejinder Narayan Majumdar about his training, his music and about him.
Excerpts from our conversation:
Q. You belong to the Senia Maihar Gharana. How should a layman understand ‘gharana’ and could you also throw light on some salient features of your gharana?
A. The term ‘gharana’ comes from the word ‘ghar’ i.e. home. In olden days, when transportation was a challenge, the guru [teacher] taught music to his disciples at his home and in this way a gharana was gradually established. The mentor of my gharana is Baba Alauddin Khan, who received his training from Wazir Khan, a direct descendant of Tansen. Baba amalgamated thumri, khayal and dhrupad and evolved rhythmic cycles of raga no one before him had.
Q. You were speaking of the grammar of a raga. What is this grammar and how did your training enable you to add to this?
A. Each raga has either ‘ma’ or ‘pa’ [like do, re, me, fa etc], thus each raga has a unique feature.
Training has been very vital as the intricate nuances of a raga have to be learnt. Also for improvisation, training is necessary. The disciple has to take over as the guru sings or plays, grasping as early as possible. One has to start from zero as it were and then carry forward the tradition in one’s own way. The training should help one retain one’s originality and not be an imitation of the teacher.
Q. How far is technique important in classical music?
A. Technique is not in the front row in classical music as its soul is expressed not by virtuosity of technique, but by its emotive effect. Each ‘swar’ [note] has its individuality and its effect has to be produced in the right way. Intensity, softness, modulation, everything is important for this kind of music. One raga could be played in different modes. How it is treated, makes the difference. The notes of a raga should be close to one’s heart like once beloved. Knowing one note should enable the musician understand the raga.
Q. Tell us briefly about the sarod.
A. Sarod is a popular classical instrument, not as old as the Veena or Sitar and has descended from the Persian and Afghani ‘Rabab’. It has been modified to make it befitting Hindustani classical music. Sarod has its own frequencies and since it doesn’t have freights, the artist has to be guided by his musical training to locate the swar and shift the hand on the instrument accordingly. I therefore feel that all instrumentalists should have training in vocal music as well.
Q. In the changing scenario of music, where do you see Hindustani classical music in a few years from now?
A. I think it will sustain and I am very optimistic about its future. It is a treasure trove of Indian art, not only due to its technical aspects, but also due to its emotiveness. The shelf life of music is important. In the long run only melody based songs are remembered. So this kind of music will always be enjoyed. Only exposure to it should come early. There is no dearth of talent among youngsters. But they have to remember that classical music is a challenge and involves a lot of struggle. Every performance has to be better than the previous one. Nothing can be stagnant.
Q. Has your family been into music?
A. I am the fourth generation player in my family. My son too has been undergoing formal training since the age of four. He has not yet given a stage performance though.
Q. How long has been your association with music?
A. I have been into it for forty years. I started with vocal music and tabla. Then I was taught to play the mandolin and then moved to sarod.
Q. Do you decide the raga you would play in a particular recital?
A. No, the choice is impromptu. The choice of raga depends on the mood.
Q. How does the tabla accompanist keep pace with you then?
A. That’s a real challenge for the tabla player. But he is trained for compatibility. He doesn’t know till the last moment what is going to happen on stage but still he has to be in sync.
Q. You have played with the legendary Ustad Zakir Hussain and also with violinist Mysore Manjunath. Please tell us more about these experiences.
A. Classical music has ‘thekas’ or regular cycles of rhythm. The constant factor is the number of beats in a cycle. In between there are many complexities of rhythmic structure and improvisations by the artist. Ustad Zakir Hussain is so accomplished that he can figure out intuitively what I am going to play and he knows the pauses also. Mysore Manjunath being a Carnatic musician, I chose a raga which is almost similar.
Q. You still practice despite the fact that you travel extensively?
A. I practice in between and come on the stage only after doing a lot of homework. As I said earlier one has to keep improving. I am disappointed when I listen to my earlier recordings and am still not completely satisfied with my creations. That spirit should always be kept alive. It is only then that new dimensions are created like combining two or more ragas. Appreciation has to come from within first and for that one has to feel the music. That can come only with practice.
Q. Do you think music and training have evolved you as a person?
A. Music has enabled me to be a better person and my training has given me my approach to music. I have been fortunate to travel with maestros. In the process, I have picked up the ‘tameez and tehzeeb’ [etiquettes and culture) which go with it. It has injected the philosophy of life into me musically.
Being an artist is one thing, but being a nice human being, with humility and respect for seniors, is another and my music has blessed me with this.
And we (Rashmi and Deepa) could experience it when we touched divinity as he strummed the strings of his sarod, making us go through a gamut of emotions with his variations, producing music subtle in its grandeur. What magic potion creates such melody, one wonders?