M Moniruzzaman is one of the leading flutists in Bangladesh, a master of several wind instruments including banshi, silver flute, saxophone and Chinese flute.
His three solo albums all have different themes. Shomokal fuses different ragas, Egaro has instrumental versions of eleven popular patriotic songs, and Destination features Sufism based folk music. The Dhaka Tribune caught up with the artist:
Our society often pushes young people towards mainstream jobs. When you decided to make music your career, did you face obstacles?
Fortunately my father Ustad Abdur Rahman was himself a renowned flutist. Many of the old playbacks we hear now-a-days were composed by him. So, I was lucky that way.
But I have faced real hardship financially. It’s not possible to support a family only by practicing classical music. I often play in events where the organisers can’t even offer me a stick of rajanigandha flowers due to lack of funds.
As a prominent flutist, you perform almost every day. How do you make time for your own practice?
I practice at least six hours a day. I personally think that, on top of practice, every artist should keep time to research what they are working on.
Do you teach?
Yes, I do. I teach both in Shilpakala Academy and at home. Even though I don’t take a single penny from students, not many are interested to learn when they see the difficulty level and the amount of practice I seek from them.
Any suggestions for upcoming young flutists?
Flute is a charming and magical instrument, but it has to be played from the heart. He or she has to love the instrument, and they must play it for their own pleasure. One can do well in anything, if it’s done with love and dedication.
Do you think the flute and classical music are treated with due respect in our country?
It saddens me when I see the thousands of people spending thousands of taka to attend an Indian artist’s performance, whereas sometimes we don’t even find 50 audience at our shows.
People think anything from abroad is better than us. They don’t even try us.
Sponsors are also not eager to provide funds for classical music. According to them, it is commercially unprofitable.
What do you have planned for your next album?
About my first three albums, I would like to thank Tonatuni Productions. In this world of commercialism, they came forward to sponsor us, which helps not only to me, but to the entire classical music industry.
For a long time, I’ve been planning to work on Lalongeeti. Hopefully, it will be reflected in my next album.