A quiet pursuit of excellence

In our monthly feature on veteran classical musicians, sitar and surbahar wizard Pandit Budhaditya Mukherjee tells says his only dream is to play the sitar far better than what he has till now.

Recognised and applauded in India and abroad as a musical genius, Pandit Budhaditya Mukherjee is a sitar and surbahar wizard. He has received rave reviews for his concerts, taught at prestigious institutes abroad and his long list of awards and honours include the Padmabhushan, Sangeet Natak Akademi award and being the first musician in the world to perform in the House of Commons, UK.

Yet, when asked if he has any big dreams left, the legend replies: “Yes, I have one dream left to fulfill — to play the sitar far, far better than what I have.”

It is this relentless pursuit of excellence that has characterised his entire musical journey, which began early in life. He was born in Bhilai in 1955, a township he describes as a “desert of Indian classical music wherein my father Acharya Bimalendu Mukherjee was the oasis. Ever since I started understanding sound, I was listening to the sitar in his hands.”

A deep attachment

During his childhood, Indian classical music in various forms pervaded his home as his father hosted great musicians. When Budhaditya turned five, his illustrious musician-father gave him a small sitar to hold and try. “With his exceptional and nurturing skills of communication, especially at my tender age (which I understand better today in retrospect), my father began teaching me without ever making me feel the burden of learning. Consequently, I became deeply attached to the sitar and its nuances.”

Regarding the surbahar, Pandit Budhaditya explains that there were two of these instruments at home. One was a surbahar of Ustad Enayet Khan and another that arrived later in 1980. Around 1974-75, he tried playing the inhouse surbahar. “As I was already playing the sitar for a few years, I discovered a natural affinity. Surbahar is a very large instrument and requires a minimum maturity of musical appreciation for initiation into its immense nuances.”

What were the other influences on his music? “My entire training in sitar and surbahar has been under my father. He had his training in sitar and surbahar in the ‘gharana’ created by Ustad Imdad Khan, father of Ustad Enayet Khan, and grandfather of sitar giant Ustad Vilayat Khan. Some have called it the Etawah Gharana, though I named it Imdadkhani Gharana in 1976, giving its creator the patent-like honour it deserved. While I continued learning from my father-guruji, he advised me to listen extensively to other artists, especially great vocalists like Bade Gulam Ali Khan, Pandit Kumar Gandharva, Ustad Amir Khan, recordings of sarangi geniuses such as Ustad Bundu Khan and Pandit Gopal Mishra, and other sitar artists (I was given the freedom to choose) and try to absorb the musical concepts therein. Even as a child, I heard many sitariyas.”

A long journey

However, around age seven, he heard, for the first time, the sitar music of Ustad Vilayat Khan and was immediately mesmerised. “I felt this was the ambience I wanted to experience through my hands. Attempting to assimilate (even though from a distance) the concepts of masters with the freedom my Guruji gifted me, helped me find my own path through the immense maze of musical excellence that God has gifted us to experience through the creativity of such geniuses.” His guru’s infinite patience also helped him, he adds. “My guru’s tolerance of my multitude of mistakes and setting me back on track again and again, despite my many conceptual errors was the nurturing that brought me closer to music.”

Mukherjee gave up an engineering career (despite a gold medal) to focus on classical music. A wise decision, considering the tremendous success and acclaim he has earned. However, many music students feel the field is extremely competitive and tough even for the talented and hence prefer to keep a day job as a back-up.

What does he say? “Music is a difficult and unpredictable profession. Success in this field is an intertwined story of passion, perseverance and talent, if any. Life does not allow anyone to return in time to rectify an unsuccessful decision. So, this choice depends on the parameters of the individual’s life and his/her family’s opinion and condition. Being a professional musician means undertaking a very long and arduous journey, with changing situations and numerous challenges, which require consistent support, mentally and financially. Fortunately, my father-guru and mother Nilima supported me as did my wife Nabanita’s love and immense belief in me.”

Mukherjee’s first solo concert happened in Jabalpur at age 13. Since then, he has given approximately 1,600 concerts in India and 1,300 abroad in 26 countries. The exquiste alaap, rich gayaki ang, intricate tankari and dazzlingly fast sitar-play, while achieving crystal-clear enunciation of notes, have enthralled listeners. At 12 international music festivals, he has been the sole Indian (musician) representative. He created history when he became the first musician in the world to perform in the House of Commons UK, on June 30, 1990.

He also taught at prestigious foreign institutes like Conservatory of Music, Rotterdam (1995 to 2005) and Instituto Internazionale di Studi Musicali Compariti, Venice (from 1983-94).

A lifetime of devotion

Interestingly, however, he has stayed away from featuring in Indian-Western classical fusion concerts. What is his opinion about this trend? “Everyone has the freedom to choose what they wish to hear or participate in. I, as an individual, do not participate in fusion or collaborated music concerts/events. However, time permitting, I have no reservations in hearing such music created by others.”

Back home, Mukherjee focuses only on a few students. He explains: “Learning the sitar is a long, winding, difficult and lonely path. It requires devotion over a lifetime. Perhaps the kind of devotion and sense of responsibility I expect from my students is difficult. However, the few who have learnt from me, hold the sitar well.”

What suggestions would he give students and aspiring musicians? He says he would rather not dole out general advice as each student’s path is unique.

The living legend prefers, instead, to dwell on lessons imbibed from his own father-teacher. “My Guruji allowed me to decide for myself the formatting of my presentation as each individual concert would have its own environment and generalising about that would not be wise. Such freedom helped me make my own and instant assessment of any concert environment and edit or elaborate as required.

A few important concepts he helped me to realise through music and otherwise were: utilise time wisely, recognise human values, learn from my own mistakes, and not fear the unknown. All these have helped me serve music with deeper insight.”

The highly distinguished musician humbly adds that he is indebted to music lovers for all the admiration and patronage received: “I am sincerely grateful to everyone who feels my music is worth listening to. Indian classical music calls for a lifetime of dedication. It takes years of selfless devotion to receive the Almighty’s blessings to reach a minimum, dignified level in this amazing art.” Every maestro would concur.