The soothing notes of his flute weave a magical spell, gently sweeping away the burdens of a chaotic world. All you need to do is close your eyes, surrender to the rhythm, and let the music heal your soul. It’s no surprise that flute maestro Pandit Ronu Majumdar achieved the Guinness World Record for orchestrating the largest Hindustani Classical symphony with 546 musicians, followed by the prestigious Padma Shri. The senior flautist, whose soulful tunes mesmerised audiences at Surmandal’s Uttar-Dakshin concert in the city, spoke to CE about his inspiring journey, his experience with fusion music, and more.
Excerpts
Can you tell us about how your musical journey started?
Well, I’m not from a musical family. In fact, my father was a homeopathic doctor and a great painter. I was born in Varanasi, a place where many great musicians were born, including Girija Devi and Pandit Kishan Maharaj. My father played flute as a hobby and was a disciple of the great Pannalal Ghosh, who introduced the flute — which was traditionally used in folk music — to Hindustani Classical music.
My first guru was my father, who began teaching me to play the flute when I was six. I used to play with the flute as if it were a toy, breaking many flutes in the process. (laughs) My father didn’t punish me; instead, he made me play for longer hours. Slowly, I started playing in temples and sometimes also played in the great Bismillah Khan Saheb’s house. My first professional concert was when I was 13. I kept performing, but the biggest challenge was that I wasn’t from a musical family. I didn’t get noticed until I received the first prize at the All India Radio competition in 1981. After that, I also participated in Asiad in 1982. RD Burman noticed me and I started playing for films too — I played the flute for the songs Yaad Aa Rahi Hai (sung by Amit Kumar and Lata Mangeshkar) and Khali Hath Sham Aai Hai (sung by Asha Bhonsle).
But I will say that the struggle of not being accepted initially due to my non-musical background affected me deeply. In fact, I was depressed. My father and wife helped me greatly during my challenging times. Today, I feel happy to have received the Padma Shri. The fact that my contribution is known to people and they have recognised it is wonderful.
One of your gurus was Pandit Ravi Shankar. What was he like as a guru and person?
He was a very giving person with a powerful aura. If you went close to him, you could feel the energy of music and absorb abundant knowledge. I recall meeting MS Subbalakshmi ji in Chennai once. She asked me, ‘Who is your guru?’ When I told her it was Pandit Ravi Shankar, who had just received the Bharat Ratna then, she said, ‘Oh, he is not a Bharat Ratna, he is a Vishwa Ratna!’
You’re from the Maihar Gharana yet created wonderful fusion music. Usually, classical musicians do not tend to dabble in such genres. What made you delve into fusion and collaborative music?
Yes, there are musicians who can be very rigid when it comes to trying out something new. But people like RD Burman and jazz maestros like Louis Banks and Larry Coryell opened my mind and changed my perspectives. One of my favourite collaborative compositions, which I created with Larry, is Stoppin’ Short (from the album Moonlight Whispers).
What special touch does the flute bring to a Hindustani Classical music composition?
It creates a feeling of serenity, with earthy and pastoral notes…you can almost smell the fresh soil as you hear it.
What is your advice for aspiring musicians?
What I have noticed is that budding artistes often want success but are not passionate about the music. They focus on social media presence and fame, failing to enhance their skill in the process. In fact, I refuse to teach such individuals. Some ask me, ‘How long will it take me to reach your level?’. Arre, what is my level? Everyone is different and has their own unique way of playing. So, my advice to people is focus on practising and enhancing your skill.