Born in Fulbari, Sanjib Mondal knew music was his calling at an early age when he picked up the violin and later moved to London to study music under the renowned violinist Emmanuel Hurwitz. From mastering the violin strings to commanding an entire orchestra with a flick of the baton — his journey is like the symphony itself. In a candid chat, t2 caught up with a very optimist Sanjib, who founded the Kolkata Youth Orchestra in 2011 and revived the Kolkata Symphony Orchestra in 2018 that is known for their impeccable performances.
What first drew you to the world of orchestral music, and when did you know this was your calling?
When I was nine, I chose violin. That time at Oxford Mission, we had fathers from foreign countries and they would teach us and we would eagerly watch them perform. Violin would always intrigue me as an instrument. Later, during our passing out years, we were encouraged to take up music or rather pursue it as a career.
Someone helped us and we were the first quartet group who played at the Oberoi Hotels back around 1990-1991. Lot of foreigners would be at The Oberoi Grand who would enjoy the music.
How did the environment at Oxford Mission shape your musical identity?
Oxford Mission back then used to always motivate us in music. Many world-famous names in the music industry used to visit, so that kind of helped me take it up. Studies was of course there but music was always my calling. I always used to think, why not me! Father Theodore Mathieson always used to encourage us and stress on music. And one could say that it was a tradition at Oxford Mission, it’s seen that 80 per cent of the students from here had spread all across the world — UK, Dubai, Sharjah, US, Delhi….
From violin to being a conductor of an orchestra... how did it happen?
After passing out from Oxford Mission around 1992-1993, I went to the UK and got scholarships, where I took further training in chamber music, violin… then when I came back in 1996, I was given the opportunity to teach the boys in Oxford Mission! I started teaching a batch of say 30 students in a group and shekhan theke korte korte, naturally conducting ta develop holo. And slowly love for conducting organically grew.
Later, I created orchestra at Oxford Mission, followed by an opportunity to be the conductor of Calcutta Chamber of Orchestra, which was under Calcutta School of Music. After almost 13 years, I felt that I should do something of my own and it was then I formed Kolkata Youth Orchestra in 2011. Later I thought why not have a symphony orchestra! Something inside me asked me to try and go for it. Forming the same needed money and in the early days I spent my money to grow the orchestra because by then orchestra had become my passion.
Who were your influences when you were learning music?
It’s hard to say, but I have always been inspired by performances that I had seen abroad. The way they would approach and conduct impressed me and I tried taking inspiration and implementing them in my orchestra.
Tell us more about Kolkata Symphony Orchestra...
In 2018, I decided to rename Kolkata Youth Orchestra that I had formed to Kolkata Symphony Orchestra, where I tried involving professional musicians. We are usually a group of 25 but for a bigger concert it grows to 30-40 members... the number is not fixed.
In Western music, could you name three pieces that Kolkata Symphony Orchestra plays the best?
It would be Symphony No.40 by Mozart, Piano Concerto No.1 in D minor BWV 1052 by J.S. Bach, and Violin Concerto in D minor by Mendelssohn.
What has been the most challenging piece conducted by you?
(Thinks) It would be Chopin Piano Concerto No.1 Op.11.
How do you balance discipline with emotion when leading an orchestra such as Kolkata Symphony Orchestra?
Discipline is the key when leading an orchestra. Ami jeta korchhi is Western orchestra, and in this, discipline is a must! Discipline na holey, ami ba musicians ra focus ta ditey parbe na. One has to be punctual. In my orchestra it’s a rule that everything has to be on time, from tuning instruments to starting on time.
Conducting is often described as silent leadership, what qualities do you think make a great conductor?
A good conductor should always know all the parts of instruments or know as many instruments as possible. I had focused on string orchestra like violin, cello, double bass… another trait of a good conductor is always keep learning and discovering. When I had got opportunities to go abroad, I explored music, tried learning an instrument. If I met a conductor, I tried doing a masterclass. A good conductor should try to do a variety of music, be it chamber or symphony, and not just stick to a type.
When you approach a new composition, how do you begin — with emotion, structure, or instinct?
It all depends on the piece. Every music has a different impact and I study the piece individually and do not follow a pattern.
How much of practice is needed before you actually take the stage?
It depends on the piece that we are playing. If they are very difficult pieces, then a lot of practice goes into it. For a good concert, a minimum of three-four months of practice our orchestra puts in.
Is there a performance that you hold close to your heart?
When I had got an opportunity to conduct a piece at Tokyo Opera Hall, it was a moment I felt “wow I did this”! Later, I worked with Fukushima Youth Sinfonietta Orchestra and performed with them. After two years, I went to America with them and conducted in Boston Symphony Hall. That’s been extremely memorable.
In a digital age when pop culture is viral and it’s all about short Reels and videos, how do you keep students inspired?
This is a very valid and good question. You are correct, post-pandemic, it has been a challenge to keep their attention in traditional music, especially orchestra. I create musicians, in my Kolkata Symphony Orchestra, 80 per cent are my students and now they are playing professionally and I feel that’s my power. I feel traditional form of music is for life, it will never fade like pop music of this time and age. They cannot be replaced by any pop culture and this is what I tell my students too.
If you could collaborate with any composer or artiste, living or dead, who would it be, and on what piece?
J.S. Bach and Mozart! I wish they were alive now… khub bhalo hoto.
When you are not making music, how does your day look like?
I stay immersed in music 12-15 hours regularly, either teaching or learning something. And if I am not into music means I am caught up in other social commitments or out with my family because music is my life, hobby and love.