Satinath Mukherjee and pure classical songs.
Whenever the reference is made relating to pure classical songs the names of glamourous Bengali classical singers like Manna Dey, Manobendra Mukherjee or Dhananjoy Bhattacharya come at the summit. But there were other classical singers like Satinath Mukherjee who was an institution by himself during the golden age of music, that is the 50s and 60s and his basic discs relating to different ragas require special mention.
He made the use of Raag Bageshri in the song “elo jochona se tobu elona”. He demonstrated raag Bairaagi in the song “dake na keno je banshi”. It was brilliant by every musical standard. He demonstrated raag Behaag in the song “logon je gelo chole”.
He demonstrated Raag Bhupali in the song “kotha je bansori baaje”. He demonstrated Raag Darbari Kanada in the song “e bedona kenone sohi”. The song will remind everyone of Mohammad Rafi’s legendary song “wo duniya ke rakhwale” in Baiju Bawra.
He demonstrated Raag Desh Thumri in the song “Borosar Rate Jaagi”. He demonstrated Raag Kalawati in the song “baaje keno beena”. He demonstrated Raag Komol Asabari in the song “modhu raati bhor hoi”. He demonstrated Raag Patdeep in the song “kano janina baje”. He demonstrated Raag Pahari Thumri in the song “emon dine se kothai”. The list can go on.
Although his basic discs of modern songs like “pashaner buke likhona amar naam” or “bonopotho majhe”, or “baluka belai kurai jhinuk”, etc. As Satinath Mukherjee’s contribution in Bengali films was not as significant as Manna Dey, Manobendra Mukherjee, Hemanta Mukherjee or Shyamal Mitra, his recognition was adequate to his talent.
But Satinath Mukherjee’ s name will always glitter as gold if the history of Bengali classical songs are referred. His songs and compositions should be preserved and restored.
Whenever the reference is made relating to pure classical songs the names of glamourous Bengali classical singers like Manna Dey, Manobendra Mukherjee or Dhananjoy Bhattacharya come at the summit. But there were other classical singers like Satinath Mukherjee who was an institution by himself during the golden age of music, that is the 50s and 60s and his basic discs relating to different ragas require special mention.
He made the use of Raag Bageshri in the song “elo jochona se tobu elona”. He demonstrated raag Bairaagi in the song “dake na keno je banshi”. It was brilliant by every musical standard. He demonstrated raag Behaag in the song “logon je gelo chole”.
He demonstrated Raag Bhupali in the song “kotha je bansori baaje”. He demonstrated Raag Darbari Kanada in the song “e bedona kenone sohi”. The song will remind everyone of Mohammad Rafi’s legendary song “wo duniya ke rakhwale” in Baiju Bawra.
He demonstrated Raag Desh Thumri in the song “Borosar Rate Jaagi”. He demonstrated Raag Kalawati in the song “baaje keno beena”. He demonstrated Raag Komol Asabari in the song “modhu raati bhor hoi”. He demonstrated Raag Patdeep in the song “kano janina baje”. He demonstrated Raag Pahari Thumri in the song “emon dine se kothai”. The list can go on.
Although his basic discs of modern songs like “pashaner buke likhona amar naam” or “bonopotho majhe”, or “baluka belai kurai jhinuk”, etc. As Satinath Mukherjee’s contribution in Bengali films was not as significant as Manna Dey, Manobendra Mukherjee, Hemanta Mukherjee or Shyamal Mitra, his recognition was adequate to his talent.
But Satinath Mukherjee’ s name will always glitter as gold if the history of Bengali classical songs are referred. His songs and compositions should be preserved and restored.
