Sarod maestro Pt Tejendra Narayan Majumdar is upbeat about the global popularity of Indian classical arts

His sarod bears the sweetness of the legendary Maihar-Senia tradition, which makes Pt Tejendra Narayan Majumdar stand in a league of his own. His signature mathematical genius is the fruit of his own tryst with the musical instrument.

Deeply emotional about the legacy of the patriarch of Senia Maihar Gharana, Ustad Alauddin Khan, he is also pragmatically aware of the bindings from which musicians must detach themselves to concentrate on the present scenario. Poker-faced in any conversation, he springs surprises now and then! On the side-lines of the 149th Shri Baba Harivallabh Sangeet Sameelan in Jalandhar, we catch up with the maestro.

Your father was a sitarist and grandfather a violinist, so why did you choose the sarod?

My grandfather Bibhuti Ranjan Majumdar was my first guru. In my family, everybody always started with the tabla and vocal music. I was also taught the same. My father Ranjan Majumdar and grandfather decided I should be playing the sarod. Inspiration came from one of my youngest uncles, who was the disciple of Ustad Bahadur Khan sahib and a great sarod player. Since sarod was too big for me at age four, my grandfather bought me a mandolin and so began my classical taleem. Later, I was under the tutelage of Ustad Bahadur Khan sahib, Pt Ajay Sinha Rai and Ustad Ali Akbar Khan.

Can you share something about the Senia Maihar Gharana?

Senia word came from Tansen. Direct descendants of Tansen were Ustad Dabir Khan and Ustad Wazir Khan sahib (from whom Ustad Alauddin learnt). Ustad Wazir Khan lived in Rampur. That’s why it was called Rampur Senia. When Alauddin Khan sahib shifted to Maihar, his disciples and their styles were called Senia Maihar. Every gharana has its own signature.

In times of wars and strife, does music provide a balm?

Music is and will always be a soothing balm. Our music is the most secular kind of art form. Music has no barriers of language, caste and creed. No space for hatred, music tries to bind. That’s how Indian classical music has become so popular globally and it’s a matter of great pride for all of us.

Bonding with the late Ustad Zakir Hussain…

We shared a great bond and the tabla maestro has left a huge void in the world of classical arts. On December 16 last year, we were supposed to perform together at Kolkata at the Swar Samrat Festival (SSF), but the news of him passing away a day earlier came as a shock. SSF was synonymous with Zakir Hussain. Without him, it wouldn’t have been possible. I first shared the stage with him in 1989 and since then, we forged a great bond although he was 10 years elder to me. He was the kind of artist who did not perform for money, but the pleasure of it all. I have learnt so much from him—his seriousness, stage presence and more. He always used to tease me about my big tummy by telling others—arre inko theek se khilao (make him eat properly).