Nikhil Banerjee (1931-1986), a phenomenal sitar exponent of the Maihar gharana, has influenced a host of sitar players, particularly those hailing from West Bengal. Known for his introspective approach to interpreting raags, many of which were Maihar gharana specialities, he displayed immense virtuosity. He was also at ease with a variety of taals or time cycles that he chose for his gats or the instrumental compositions.

In the first interview featured here, Nikhil Banerjee shares his thoughts on many facets of Hindustani music. He believes that the main objective of Hindustani music is not to entertain listeners but to make them a part of an uplifting experience. According to Banerjee, this is a spiritual experience that takes the minds of the listeners away from the materialistic world and towards the Supreme Truth or God. It is for this reason that he feels a student of Hindustani music must undergo arduous training and must lead a disciplined lifestyle. In fact, he firmly holds that a student should be completely immersed in music throughout the waking hours, and should not even read the newspapers. He provides details of the intensive training that he received and the practice regimen that he followed during his student years.

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One wonders if at all it would be possible to lead such a cloistered existence even for a few years, particularly given the avenues of attraction that are now available to youngsters. Evidently, Nikhil Banerjee followed the regimen that he prescribes for students, the superb results of which are there for everyone to experience through the recordings he has left behind. Indeed, many other maestros of Hindustani music would perhaps have shared his opinion about practice regimen.

But today, some would contest the very basis of an existence that is so far removed from societal happenings. Undoubtedly, the need to be totally involved in the practice of music is imperative, more so during the training period. But could one remain aloof from social and political concerns or even from those related to family and friends? Can one consider for a moment that these concerns could be reflected in the music that the student chooses to make later on, if indeed he or she was exposed to them?

These are some of the questions that would perhaps engage listeners as they move on to the second interview conducted by sitar player and concert presenter Viram Jasani. Recorded for the BBC in 1984, the interview also includes demonstrations of sitar and tabla compositions, the latter from noted tabla player Anindo Chatterjee. Banerjee speaks about the history and evolution of the sitar, its technique, its stylistic features, and the manner of interpreting and elaborating a gat.