Sometimes it’s good just to reflect on your musical experiences. I know I’ve said that in the grand scheme of things the Grammy Awards don’t mean much and given what I said in my previous post even a figure some of us might consider to be the elder statesmen of post WWII Anglo-American pop doesn’t seem to be known by a wide swath of younger audiences, it does still matter to some folks.
This installment of the Sunday Spotlight on the Non-Western Cello will be a bit more personal than those in the past. I know I’ve been terrible the past couple of months about blogging, but [fortunately] I’ve just been far too busy performing and giving presentations to have spent much time writing here or elsewhere.
After having this wonderful dinner with some new Indian-Muslim friends at a Bollywood Party last night, though, I decided it was time to do another spotlight. The subject of this post is Anup Biswas, about whom I discovered after reading the Cambridge Companion to the Cello (which I still think should either be significantly amended or at least have the title reflect the actual subject matter: “The Cambridge Companion to the Western Cello”).
The reference to Biswas at the end of a chapter in the Cambridge Companion to the Cello. Mainy in reference to the music school he started at an orphanage in Calcutta. Found this wonderful photo (above) of a collaborative performance between Dipak Sapui, Soumita Roy – the Bharat Natyam Dancer in center, and Anup Biswas at the Poulton House in Gloucestershire (5 June, 2010). It was part of a fundraising tour for the orphanage music school which teaches both Western and Indian classical music, and, apparently collaborative fusions between both art music traditions if this image is any indication.
The one video I’d been able to find of Anup Biswas playing Indian Music was from this recital, again to benefit the Mathieson Music Trust, at the Sacred Heart Church in Caterham, Surrey. The tabla player is Chiranjit Mukharjee.
Two things struck me when I first came across the reference to Anup Biswas: 1) that the Cambridge Companion to the cello bothered to mention anyone connected to a non-Western Cello playing tradition at all, and 2) until learning about Biswas, I was unaware of cellists in India who were already incorporating the cello into Classical Indian Music, most of what I’d seen are Western cellists (e.g. Saskia Rao-de Haas, Nancy Kulkarni) who had gone to India to learn Indian music on the cello (though now some cellists in the states are now getting conservatory level training on Indian music–more about that on a future Sunday Spotlight).