Pandit Nikhil Banerjee

Hindustani Sitar

Pandit Nikhil Banerjee

3 minute read

Pandit Nikhil Ranjan Banerjee (14 October 1931 – 27 January 1986) was a celebrated sitar virtuoso of the Maihar gharana. Born in Calcutta to sitarist Jitendra Nath Banerjee, he showed prodigious talent early—winning the All-Bengal sitar competition and joining All India Radio at nine. In 1947, he became a disciple of Ustad Allauddin Khan and later studied with his son, Ustad Ali Akbar Khan. Under their rigorous tutelage, Banerjee developed a deeply meditative style that balanced emotional depth with technical command.

Renowned for his emotional intensity and speed, Banerjee held a global concert career from the 1950s onward, touring Europe, the U.S., China, the USSR, and more . His artistry earned him prestigious honors: Padma Shri (1968), Sangeet Natak Akademi Award (1974), and posthumous Padma Bhushan. A professor at the Ali Akbar College of Music in Calcutta and visiting faculty in the U.S., he performed alongside tabla luminaries like Anindo Chatterjee and Swapan Chaudhuri.

Banerjee’s profound musical integrity continues to inspire contemporary sitarists. Though he rarely taught formally, his approach shaped disciples and followers such as Pandit Purbayan Chatterjee and Kushal Das, who perform in the Darbar Festival and embody his spiritual, lyrical style. Through his live recordings—which remain treasured references—he left an indelible legacy as a bridge between technical mastery and soulful expression in Hindustani music.

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Pandit Kushal Das | Director

Recorded at Darbar Festival 2021 on 24th October at the Barbican Centre, London. Musician: - Pandit Kushal Das (sitar) Raag Parmeshwari; Samay: Late Morning Pandit Kushal Das, a master of sitar and surbahar, follows in the footsteps of Pandit Nikhil Banerjee's Maihar tradition. Despite growing up in a family of accomplished musicians, he was given the freedom to explore music at his own pace, initially finding solace in playing film songs. But Kushal's true calling soon beckoned, and he devoted himself to capturing the nuances of his idols. With a blend of gharanas reminiscent of Vilayat Khan and the respect of fellow musicians like Pandit Buddhadev Dasgupta, Kushal's artistry transcends boundaries, merging vocal influences with mellifluous string melodies, leaving an indelible mark on Indian classical music. Pandit Ravi Shankar created Raga Parameshwari in 1968. Raga Parmeshwari is a Carnatic classical music raga that has a distinct melodic structure and is typically performed in concerts or recitals. It belongs to the 20th Melakarta raga system, which is a system of classifying ragas in Carnatic music. Raga Parmeshwari is derived from the 65th Melakarta raga, Kalyani. The raga is characterized by its unique ascending and descending scales (aarohanam and avarohanam). The aarohanam of Raga Parmeshwari is as follows: Sa Ri2 Ga3 Ma1 Pa Dha2 Ni3 Sa. The avarohanam is: Sa Ni3 Dha2 Pa Ma1 Ga3 Ri2 Sa. The notes in the scale are referred to by their solfege syllables in the Carnatic music tradition (Sa, Ri, Ga, Ma, Pa, Dha, Ni). Raga Parameshwari has a serene and devotional quality to it, evoking a sense of tranquility and contemplation. It is often associated with compositions that express devotion and spirituality. The raga allows for improvisation and exploration within its melodic framework, offering opportunities for the musician to showcase their creativity and virtuosity. As with other ragas in Carnatic music, Raga Parmeshwari has its own set of characteristic phrases, ornamentations, and melodic patterns that distinguish it from other ragas. These nuances are essential for musicians to learn and master when performing the raga. It is worth noting that while Raga Parmeshwari is primarily associated with Carnatic music, there may be variations and interpretations of this raga in other regional Indian classical music traditions, such as Hindustani music. The style of rendition and the specific melodic phrases may differ slightly in these traditions.