Prabir Mojumdar and Bengali modern songs.
Probir Mojumdar was one of innovative composers of the golden age who had contributed for Bengali modern songs both with innovative lyrics and brilliant tunes during 50s, 60s and 70s. He was associated with Salil Choudhury for some time and learnt the art of music composition from him too. Salil Choudhury was a genious of words and tunes. Probir Mojumdar who developed his skills on the same lines did adequate justice to the words that he had written by giving fruitful music in them.
Born in 1928, Probir Mojumdar created attention in the Bengali arena with his landmark composition for Dhananjoy Bhattacharya titled “matite janmo nilam, mati tai rakte misheche” in the late 50s. The lyrics of the songs were also written by Probir Mojumdar himself. The song was related to the struggle for freedom during the 40s.
Probir Mojumdar, was remembered for one of the most romantic songs sung by classical singer Manobendra Mukherjee, titled “ei nil nil jal sagore, elomelo sure gan gaowa”. The song had very balanced use of the piano and the soft orchestration was as poetic as the romantic presentation of Manobendra Mukherjee.
Other song for Manobendra Mukherjee tilted “ekhono ei raat” was a blank verse having an odd beat. The song became superhit with the charismatic intonation of Manobendra Mukherjee. The other brilliant composition of Prabir Mojumdar included “kanak chapa dhan” sung by Tarun Banerjee.
He created the brilliant song “raat koto ke jane” for Manna Dey which became superhit. His composition for Nirmala Mishra titled “o tota pakhire” became an everlasting hit having folk flavor.
Probir Mojumdar made notable contribution in Bengali film music as well. He composed music for the film Sri Sri Ramkrishna in the mid-50s. He composed music for Rajen Tarafdar’s off-beat film Jibon Kahini in the early 60s.
The other films for which he composed music, included Teen Pari Choy Premik, Surjosakhhi, Karoti, etc., which were released in the 80s. His name is used with the same dignity as the name of other followers of Salil Choudhury like Kanu Ghosh, Abhijit Banerjee, Anal Chatterji. His music and the films should be restored.
Showing posts with label manobendra mukherjee. Show all posts
Showing posts with label manobendra mukherjee. Show all posts
Manobendra Mukherjee compositions in Bengali films and modern songs.
Manobendra Mukherjee compositions in Bengali films and modern songs.
Manobendra Mukherjee had glorified the world of Bengali classical music for more than 35 years. The entire 50s, 60s and 70s was designated as the golden age of Bengali modern songs and Manobendra Mukherjee’s individual performance as vocal classical singer require no special introduction.
But his contribution as composer requires to be highlighted. Manobendra’s composition for himself in the 50s was unique. The romantic songs composed by him included “emni kore porbe mone baki jibon dhore”, “ami eto je tomay bhalobesechi”, “koto asha niye tumi esechile”, etc. Most of these songs stand out as the most romantic songs in the entire history of Bengali modern songs. The lyrics of Shyamal Gupta took the listeners to a different world of plutonic love.
In the 60s, Manobendra Mukherjee continued with his majestic tunes most of which did great business in Bengal. Some of them had classical appeal including “na jeona modhu jamini”, “ei moshumi mon”, “sangi bihongi tumi je amar”, etc. His composition in films like Chapadangar Bou in 1954, Sanjher Pradeep in 1955, Mayamrigo in 1960, Bodhu in 1962, Godhuli Belai in 1966, Joy Jayanti in 1970, created by that period of time.
But Manobendra Mukherjee’s composition for other leading singers of Bengal, both male and female, created sensation in the 50s, 60s and 70s. His landmark composition for Supriti Ghosh titled “gane gane ami je khuji tomay”, composition for Bani Ghoshal titled “kuasha ghera nil pahare” created sensation in the 50s.
Manobendra Mukherjee’s composition for Alpona Banerjee titled “mon bolche sandhay kichu bolte tumi aasbe ki” and “tumi sundor bole tai to bondhu”, created sensation in the 60s. Manobendra gave melodious tune to Shefali Chakravarty titled “kemone janabo bolo e pranero bedona” having both classical and romantic tune.
Manobendra Mukherjee gave folk tune to Tarun Banerjee in the song “champakoli go koto name dekechi tomay”. The list can go on.
Manobendra Mukherjee was a sensation in the world of Bengali film music. He started his career with Uttam Kumar’s film Chapadangar Bau. In that film his own song “shibo he shibo he” surprised the viewers with Mahadev’s Gajan. In Mayamrigo he composed the songs “metidiamericar kabyo”, “bidhi re” with elegance. The songs were sung by himself. Sandhya Mukherjee’s song “bak bak bakum bakum paira”.
Manobendra Mukherjee was sublime in Chabi Biswas’s film Badhu. The kirtan “gunamanir kalo rupe” sung by Manobendra Mukherjee flabbergasted the Bengali audience. Manobendra Mukherjee received BFJA and other words for his composition in Uttam Kumar’s film Jay Jayanti. Sandhya Mukherjee’s songs “amader chuti chute”, “aamra kono kichu korle”, etc.
Manobendra Mukherjee was sublime in other films like Bosonto Choudhury’s film Kosti Pathar, Biswajeet Chatterjee’s film Godhuli Belay, other films like Sadhok Bamakhepa, Joto Maat Toto Path, Nidhiram Sardar, Sudhur Niharika, Sanjher Pradeep, etc.
Manobendra’s creation requires to be unearthed. There are many melodious compositions of Manobendra made in the 50s, which had not been reprinted by HMV. If displayed, they can attract the new generation and entertain them.
Tarun Banerjee had sung everlasting songs during golden age.
Tarun Banerjee had sung everlasting songs during golden age.
Singer Tarun Banerjee had sung everlasting songs during the golden age of Bengali music; that is the 50s and 60s. He had a deep voice with good pitch. His song “mor malanche bosonto nai” was very popular during the 60s. He was sublime in the song “champakoli go koto name dekechi tomae” composed by classical singer Manobendra Mukherjee. The song “konokchapa dhan” composed by Prabir Mojumdar and sung by Tarun Banerjee was equally popular.
He was excellent in the songs he had sung for poet and composer Salil Choudhury. One of his legendary songs included “eso kache eso, kono kotha bolo” which became immensely popular during the 60s. His song “ankhi cholocholiya keno gele choliya” composed by Nikhil Chatterji also became very popular during that period. His other hit songs during that period included “tolpar tolpar moner kotha”, “magnelia aar kamelia phool”, etc.
He also sang songs which were compositions made out of rhymes. One of the examples included “ek ekdin megh kore mon bole hariye jai”. He also sang the song “champa amar ogo jago” which was written by Salil Choudhury and composed by Sudhin Dasgupta. Very rarely the two highly talented lyricist and composer Salil Chodhury and Sudhin Dasgupta came together to compose the legendary songs. “champa amar ogo” was one of them.
He had sung songs which were in the form of ballads. Some of them included “modhumati jay boye jay”, “cholo Rina”, “kajol nodir jole”, “aar deri nei”, to mention a few. He equally sublime in other modern songs like “alta payer”, “elona se elona”, etc.
He also made valuable contribution in Bengali film music. His song “haridasher bulbulbhaja tatka taja khete moja” in the film Shriman Prithviraj was very popular. The song was composed by Hemant Kumar and the film was directed by eminent director Tarun Majumdar. It is not possible to highlight the contribution of Tarun Banerjee in Bengali modern songs in a small article, who had contributed during the 50s, 60s and 70s. His songs and films should be preserved and restored.
Salil Choudhury had composed gems for all the legendary singers of golden age.
Salil Choudhury had composed gems for all the legendary singers of golden age.
Salil Choudhury, genius of words and tunes had composed brilliant tunes for most of the giants of Bengali music in the 50s and 60s. He composed melodious song for Tarun Banerjee titled “eso kache boso” which had the rhythm of railways. The song “pallabini go sancharini” composed for Dijen Mukherjee remains one of the most striking modern songs he had sang during his life.
The song “ami parini bujhite parini” had classical touch and Salil Choudhury did justice by composing it for the best classical singer of the 50s Manobendra Mukherjee. He almost converted it into a ghazal. Admirers of Salil Choudhury who glorified his westernized creations would salute him for his classical creations of the standard of “Ami parini bujhite parini” sung by Manobendra Mukherjee. Salil Choudhury created equally brilliant song “jhanana jhanana baje” for legendary singer Dhananjoy Bhattacharya.
Salil Choudhury was unparallel in the song “jhilmil jhauer bone jhikimiki” composed for Sabita Choudhury. The words banged against each other and carried the music together. He was equally brilliant in the song “jaak dhuye jaak muche jaak” sung by Shyamal Mitra. Salil Choudhury even composed song for actor Biswajeet Chatterjee titled “jay jay din” which became big hit in the late 60s.
Salil Choudhury was amazing in the song “mon matal sanjh sakal” sung by Mukesh having a pensive mood attached with it. Sandhya Mukherjee’s “neel neel pakhi” composed by Salil Choudhury was another gem with brilliant orchestration. Salil Choudhury was brilliant in the song “guru guru megher mondro bahare” which had western chorus attached with the solo piece.
Salil Choudhury’s philosophical words were given expression in the song “path harabo bole pathe nemechi” by Hemanta Mukherjee. Besides Lata’s song “ki je kori” also had equally brilliant music and words of Salil Choudhury. In fact Salil Choudhury’s songs written and composed by himself remains as some of bengal’s greatest intellectually oriented songs having multi-dimensional effect.
Salil Choudhury, genius of words and tunes had composed brilliant tunes for most of the giants of Bengali music in the 50s and 60s. He composed melodious song for Tarun Banerjee titled “eso kache boso” which had the rhythm of railways. The song “pallabini go sancharini” composed for Dijen Mukherjee remains one of the most striking modern songs he had sang during his life.
The song “ami parini bujhite parini” had classical touch and Salil Choudhury did justice by composing it for the best classical singer of the 50s Manobendra Mukherjee. He almost converted it into a ghazal. Admirers of Salil Choudhury who glorified his westernized creations would salute him for his classical creations of the standard of “Ami parini bujhite parini” sung by Manobendra Mukherjee. Salil Choudhury created equally brilliant song “jhanana jhanana baje” for legendary singer Dhananjoy Bhattacharya.
Salil Choudhury was unparallel in the song “jhilmil jhauer bone jhikimiki” composed for Sabita Choudhury. The words banged against each other and carried the music together. He was equally brilliant in the song “jaak dhuye jaak muche jaak” sung by Shyamal Mitra. Salil Choudhury even composed song for actor Biswajeet Chatterjee titled “jay jay din” which became big hit in the late 60s.
Salil Choudhury was amazing in the song “mon matal sanjh sakal” sung by Mukesh having a pensive mood attached with it. Sandhya Mukherjee’s “neel neel pakhi” composed by Salil Choudhury was another gem with brilliant orchestration. Salil Choudhury was brilliant in the song “guru guru megher mondro bahare” which had western chorus attached with the solo piece.
Salil Choudhury’s philosophical words were given expression in the song “path harabo bole pathe nemechi” by Hemanta Mukherjee. Besides Lata’s song “ki je kori” also had equally brilliant music and words of Salil Choudhury. In fact Salil Choudhury’s songs written and composed by himself remains as some of bengal’s greatest intellectually oriented songs having multi-dimensional effect.
After Rabindranath Tagore, Dwijendralal Roy, Kazi Nazrul Islam, Atul Prashad Sen, Rajanikanto Sen and others probably Salil Choudhury was the greatest individual musical talent that Bengal had given birth to whose contribution in bollywood films, Bengali films, Bengali modern songs and IPTA’s works remain priceless gems which can be cherished for gems.
The Romantic singer Sailen Mukherjee had remained unsung.
The Romantic singer Sailen Mukherjee had remained unsung.
The 50s and 60s are considered to be the golden age of Bengali music. Singers of different style and classical background had glorified Bengali music including male singers like Manobendra Mukherjee, Manna Dey, Shyamal Mitra, Hemanta Mukherjee, Dhananjoy Bhattacharya, and female singers like Sandhya Mukherjee, Geeta Dutt, Shipra Bose, Ila Bose and others.
Sailen Mukherjee appeared in Bengali musical arena during that time. Some of his basic discs had been extremely romantic. His song “dar chop chop ko” takes the listeners to paradise with the background of boat travelling across river Ganges. His song “chander alloy rater pakhi” is equally romantic. The use of the piano in the romantic songs of Sailen Mukherjee requires special mention.
He was brilliant in his song “betha Jodi pao tobu jeno”. The song has slow beat to suit the mood created by the lyrics. His fast number “e mon amar jano” had been very popular in the 60s. The other song which require special mention include “ei shur hrihaye charalo”. Sailen Mukherjee gave life to epic poet Satyendranath Dutta’s brilliant poetry “jhorna jhorna shundari jhorna”. The tune of the song had balanced the words written by the legendary poet and expresses the flow of water of spring. The other landmark songs of Sailen Mukherjee included "eto je shonai gaan", "tomar moner ei prante", "aji oi akash pare", "tomay dekhechi koto rupe kotobar", etc.
Sailen Mukherjee sang two songs to address the women of Bengal including “ogo lojjaboti” and “priyo bandhabi”. The shy representation of Bengali women had been expressed by Sailen Mukherjee.
Sailen Mukherjee had given immortal music to another singer of golden age namely Manobendra Mukherjee. One of the most romantic songs included “tumi thako ami jai”. The song of Manobendra Mukherjee composed by Sailen Mukherjee which stormed Bengal in the late 50s included “bare bare ke jeno dake amare”. Sailen Mukherjee’s other composition for Manobendra Mukherjee which was equally romantic included “malatire sune jete hoyeche tumi kotodur”.
Sailen Mukherjee romantic tunes to female singers of the golden age as well. One of his romantic number composed for Alpone Banerjee included “bole chile tumi gaan shonabe sei ashae din guni”. His romantic composed for Bani Ghoshal namely “je phool bidayer pothe nirobe jhoriya jae” flabbergasted the bengalies. His romantic tune composed for Sujata Chakravarty namely “Jodi jaano e premer nei kono khoy” also stormed Bengal in the early 60s.
Sailen Mukherjee did not get a scope of composing music for many Bengali films as the film arena was dominated by Manobendra Mukherjee, Hemanta Mukherjee, Shyamal Mitra and others. Even then Bengal cannot forget and ignore the contribution of Sailen Mukherjee during the golden age who always remained unsung and unrecognized. His songs and compositions should be preserved and restored.
The 50s and 60s are considered to be the golden age of Bengali music. Singers of different style and classical background had glorified Bengali music including male singers like Manobendra Mukherjee, Manna Dey, Shyamal Mitra, Hemanta Mukherjee, Dhananjoy Bhattacharya, and female singers like Sandhya Mukherjee, Geeta Dutt, Shipra Bose, Ila Bose and others.
Sailen Mukherjee appeared in Bengali musical arena during that time. Some of his basic discs had been extremely romantic. His song “dar chop chop ko” takes the listeners to paradise with the background of boat travelling across river Ganges. His song “chander alloy rater pakhi” is equally romantic. The use of the piano in the romantic songs of Sailen Mukherjee requires special mention.
He was brilliant in his song “betha Jodi pao tobu jeno”. The song has slow beat to suit the mood created by the lyrics. His fast number “e mon amar jano” had been very popular in the 60s. The other song which require special mention include “ei shur hrihaye charalo”. Sailen Mukherjee gave life to epic poet Satyendranath Dutta’s brilliant poetry “jhorna jhorna shundari jhorna”. The tune of the song had balanced the words written by the legendary poet and expresses the flow of water of spring. The other landmark songs of Sailen Mukherjee included "eto je shonai gaan", "tomar moner ei prante", "aji oi akash pare", "tomay dekhechi koto rupe kotobar", etc.
Sailen Mukherjee sang two songs to address the women of Bengal including “ogo lojjaboti” and “priyo bandhabi”. The shy representation of Bengali women had been expressed by Sailen Mukherjee.
Sailen Mukherjee had given immortal music to another singer of golden age namely Manobendra Mukherjee. One of the most romantic songs included “tumi thako ami jai”. The song of Manobendra Mukherjee composed by Sailen Mukherjee which stormed Bengal in the late 50s included “bare bare ke jeno dake amare”. Sailen Mukherjee’s other composition for Manobendra Mukherjee which was equally romantic included “malatire sune jete hoyeche tumi kotodur”.
Sailen Mukherjee romantic tunes to female singers of the golden age as well. One of his romantic number composed for Alpone Banerjee included “bole chile tumi gaan shonabe sei ashae din guni”. His romantic composed for Bani Ghoshal namely “je phool bidayer pothe nirobe jhoriya jae” flabbergasted the bengalies. His romantic tune composed for Sujata Chakravarty namely “Jodi jaano e premer nei kono khoy” also stormed Bengal in the early 60s.
Sailen Mukherjee did not get a scope of composing music for many Bengali films as the film arena was dominated by Manobendra Mukherjee, Hemanta Mukherjee, Shyamal Mitra and others. Even then Bengal cannot forget and ignore the contribution of Sailen Mukherjee during the golden age who always remained unsung and unrecognized. His songs and compositions should be preserved and restored.
Chabi Biswas was sublime in Maya Mrigo.
Chabi Biswas was sublime in Maya Mrigo.
Legendary actor Chabi Biswas was unparallel and sublime in the film Maya Mrigo. The film was directed by renowned director Chitta Basu in 1960. The film was based on the classic literature of Niharranjan Gupta. The writer always had glorified the character of mother in his literature. He had been prominent for his epic literature “Ulka” which was successful as play in Kolkata and also used in the bollywood film Meri Surat Teri Ankhen.
Maya Mrigo was the debut of the actor Biswajeet Chatterji and actress Sandhya Roy who were launched together as romantic pair in Bengali film in 1960. Chabi Biswas played the role of eminent barrister in the film, the husband of Sunanda Basu and the father of Biswajeet Chatterji. Sunanda Basu and Sandhya Rani were sisters. Sandhya Rani was married to Bikash Roy, who had a number of children. But Sunanda Basu was child-less. She took one son of Sandhya Rani and brought him up as her own son.
During second world war, Bikash Roy lost his limbs and Sandhya Rani lost all their children. Being helpless she came to Kolkata in the house of Chabi Biswas who had given shelter to a number of tenants including Uttam Kumar, Tarun Kumar, Tulsi Chakaravarty, Jahar Roy and others.
Sunanda Debi never greeted Sandhya Rani well, as she feared that if Biswajeet Chatterji came to know that he was the son of Bikash Roy and Sandha Rani, it would have been fatal for her. Bikash Roy died in the film. At the end of the film the truth was unfolded, but Chabi Biswas explained to everyone that both Sunanda Debi and Sandhya Rani, were accepted as the mother of Biswajeet, as one gave birth while the other brought up the child.
Manobendra Mukherjee composed excellent music in the film with hit songs like “bidhi re” and “metidiamericar kabyo” sung by him, “ore shon shon gerobaj” sung by Hemanta Mukherjee, and “bok bok bok bokum bokum paira” sung by Sandhya Mukherjee. But Chabi Biswas’s brilliant personality had overshadowed all the other performances in the film. He showed a contrast of expressions, including the kindness shown to Sandhya Rani and also the strictness shown to his tenants. The film should be restored for the brilliant performance of Chabi Biswas and also classic literature of Niharranjan Gupta.
Legendary actor Chabi Biswas was unparallel and sublime in the film Maya Mrigo. The film was directed by renowned director Chitta Basu in 1960. The film was based on the classic literature of Niharranjan Gupta. The writer always had glorified the character of mother in his literature. He had been prominent for his epic literature “Ulka” which was successful as play in Kolkata and also used in the bollywood film Meri Surat Teri Ankhen.
Maya Mrigo was the debut of the actor Biswajeet Chatterji and actress Sandhya Roy who were launched together as romantic pair in Bengali film in 1960. Chabi Biswas played the role of eminent barrister in the film, the husband of Sunanda Basu and the father of Biswajeet Chatterji. Sunanda Basu and Sandhya Rani were sisters. Sandhya Rani was married to Bikash Roy, who had a number of children. But Sunanda Basu was child-less. She took one son of Sandhya Rani and brought him up as her own son.
During second world war, Bikash Roy lost his limbs and Sandhya Rani lost all their children. Being helpless she came to Kolkata in the house of Chabi Biswas who had given shelter to a number of tenants including Uttam Kumar, Tarun Kumar, Tulsi Chakaravarty, Jahar Roy and others.
Sunanda Debi never greeted Sandhya Rani well, as she feared that if Biswajeet Chatterji came to know that he was the son of Bikash Roy and Sandha Rani, it would have been fatal for her. Bikash Roy died in the film. At the end of the film the truth was unfolded, but Chabi Biswas explained to everyone that both Sunanda Debi and Sandhya Rani, were accepted as the mother of Biswajeet, as one gave birth while the other brought up the child.
Manobendra Mukherjee composed excellent music in the film with hit songs like “bidhi re” and “metidiamericar kabyo” sung by him, “ore shon shon gerobaj” sung by Hemanta Mukherjee, and “bok bok bok bokum bokum paira” sung by Sandhya Mukherjee. But Chabi Biswas’s brilliant personality had overshadowed all the other performances in the film. He showed a contrast of expressions, including the kindness shown to Sandhya Rani and also the strictness shown to his tenants. The film should be restored for the brilliant performance of Chabi Biswas and also classic literature of Niharranjan Gupta.
Satinath Mukherjee and pure classical songs.
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.
Mohishashur Mordini was the greatest creation of All India Radio.
Mohishashur Mordini was the greatest creation of All India Radio.
Mahishashur Mordini which meant the annihilation of the demon, was the greatest work of art that was recorded in All India Radio in the last 100 years.
It had been broadcasted on the sacred morning of mahalaya from 1930 till date.It was associated with chandipath, which meant chanting from Chandi, the verses from Durga Shaptashati. It had signified the beginning of bengali’s greatest festival durgapuja. With Mohishashur Mordini being broadcasted in All India Radio on the morning of Mahalaya, bengalies all over the world feel the end of pitripakha and beginning of debipakkha.
Birendra Krishna Bhadra, was the maestro who was instrumental in the creation of Mohishashur Mordini. The legendary narrator and director of All India Radio, Kolkata, for more than 50 years, recited the holy verses, and told the story of descent of Goddess Durga from Heaven to earth in his dynamic andaz, most famous being “ya devi, sarbabhuteshu, shaktirupenu sanghasthita, namastashyayi, namastashyayi, namastashyayi, namoh namaha”.
Pankaj Mullick and Bani Kumar ably assisted Birendra Bhadra in his novel mission. Banikumar was the script writer and Birendra Bhadra the director and narrator of the mega-act. Eminent singers of Bengal added colour in mohishashur mordini, with then golden voices, with Manobendra Mukherjee singing “tabo achinto”, Dijen Mukherjee singing “jago tumi jago”, Supriti Ghosh singing “bajlo tomar alor benu”, while Shyamal Mitra, Sandhya Mukherjee, Suprava Sarkar, Utpala Sen and other giants of Bengali music industry singing legendary songs under the direction of Pankaj Mullick and Bani Kumar.
Goddess Durga had been idolized as Narayani, Brahmani, Maheshwari, Shivaduti, and Chamunda, decked with a garland of skulls. Mahishasura, the terrible king of the asuras, defeated the Gods and driven them out of Heaven. The Gods being dejected, went to Brahma, the Creator, Vishnu, the Preserver, and Mahadeva, the Destroyer. These three Gods projected their energy and created a new energy in the form of Goddess Durga. She was Mahamaya, the Mother of the Universe.
The Goddess then emerged in full battle array to combat Mahishashura.The Himalayas gifted her the lion to be her carrier. Vishnu gave her the chakra. Mahadeva gave her the trishul (the trident). Yama gave her the danda. Brahma gave her the rosary. Armed with weapons in her ten arms Goddess Durga defeated the Asuras, including shumbha, nishumbha and ended the rule of evil forces.Mahalaya is followed up with Mahashashti, Mahashaptami, Mahaaustami, Mahanabami and Mahadashami, to mark, Goddess Durga’s victory over evil and bringing happiness to mankind. Mohishashura Mordini Strotrum or sloka is a very popular devotional strotra written by Sri Shankara Bhagavatacharya.
Birendra Bhadra’s mohishashur mordini became immortal, and once due to popular request when Bengal’s greatest superstar Uttam Kumar recited the play in All India Radio in the 70s, the music being directed by Hemant Kumar, the listeners showed resentment and All India Radio again started broadcasting the mohishahur mordini created by Birendra Bhadra. These days the work is converted into CDs, but it should be listened only at the mahendra khan, the time of mahalaya.
The greatest work of All India Radio, Kolkata should be preserved and restored.
It had been broadcasted on the sacred morning of mahalaya from 1930 till date.It was associated with chandipath, which meant chanting from Chandi, the verses from Durga Shaptashati. It had signified the beginning of bengali’s greatest festival durgapuja. With Mohishashur Mordini being broadcasted in All India Radio on the morning of Mahalaya, bengalies all over the world feel the end of pitripakha and beginning of debipakkha.
Birendra Krishna Bhadra, was the maestro who was instrumental in the creation of Mohishashur Mordini. The legendary narrator and director of All India Radio, Kolkata, for more than 50 years, recited the holy verses, and told the story of descent of Goddess Durga from Heaven to earth in his dynamic andaz, most famous being “ya devi, sarbabhuteshu, shaktirupenu sanghasthita, namastashyayi, namastashyayi, namastashyayi, namoh namaha”.
Pankaj Mullick and Bani Kumar ably assisted Birendra Bhadra in his novel mission. Banikumar was the script writer and Birendra Bhadra the director and narrator of the mega-act. Eminent singers of Bengal added colour in mohishashur mordini, with then golden voices, with Manobendra Mukherjee singing “tabo achinto”, Dijen Mukherjee singing “jago tumi jago”, Supriti Ghosh singing “bajlo tomar alor benu”, while Shyamal Mitra, Sandhya Mukherjee, Suprava Sarkar, Utpala Sen and other giants of Bengali music industry singing legendary songs under the direction of Pankaj Mullick and Bani Kumar.
Goddess Durga had been idolized as Narayani, Brahmani, Maheshwari, Shivaduti, and Chamunda, decked with a garland of skulls. Mahishasura, the terrible king of the asuras, defeated the Gods and driven them out of Heaven. The Gods being dejected, went to Brahma, the Creator, Vishnu, the Preserver, and Mahadeva, the Destroyer. These three Gods projected their energy and created a new energy in the form of Goddess Durga. She was Mahamaya, the Mother of the Universe.
The Goddess then emerged in full battle array to combat Mahishashura.The Himalayas gifted her the lion to be her carrier. Vishnu gave her the chakra. Mahadeva gave her the trishul (the trident). Yama gave her the danda. Brahma gave her the rosary. Armed with weapons in her ten arms Goddess Durga defeated the Asuras, including shumbha, nishumbha and ended the rule of evil forces.Mahalaya is followed up with Mahashashti, Mahashaptami, Mahaaustami, Mahanabami and Mahadashami, to mark, Goddess Durga’s victory over evil and bringing happiness to mankind. Mohishashura Mordini Strotrum or sloka is a very popular devotional strotra written by Sri Shankara Bhagavatacharya.
Birendra Bhadra’s mohishashur mordini became immortal, and once due to popular request when Bengal’s greatest superstar Uttam Kumar recited the play in All India Radio in the 70s, the music being directed by Hemant Kumar, the listeners showed resentment and All India Radio again started broadcasting the mohishahur mordini created by Birendra Bhadra. These days the work is converted into CDs, but it should be listened only at the mahendra khan, the time of mahalaya.
The greatest work of All India Radio, Kolkata should be preserved and restored.
Mahalaya and Mohishashur Mordini in All India Radio.
Mahalaya and Mohishashur Mordini in All India Radio.
For Bengalies the greatest festival of the year include Durga Puja. The flavor of the festival is set up by Mahalaya which occurs seven days before the occasion. Mohishahshur Mordini had not lost its appeal even after 60 years of its creation. It is played in All India Radio on the morning of every Mahalaya each year. In 2010 it was also played and it enchanted numerous bengalies all across the world.
The mantra in the entire play was uttered by Birendra Krishna Bhadra who became a living legend in the early 50s. He conducted all the important programs in All India Radio from Kolkata at a time when Television did not appear in India and Radio was the only medium of entertainment.
From Mahalaya the Petripaksha ends and Devipaksha begins. Hindus all over the world worship Goddess Durga and the occasion lies for four days including Shashti, Saptami, Ashtami and Navami. On Dashami Goddess Durga is immersed in holy Ganges. Mahalaya is the day when Hindus do tarpan in the Ganges to remember the ancestors who had died but were still attached with the next generation.
When Birendra Bhadra directed Mohishashur Mordini, the tale relating to Goddess Durga defeating the devil powers under the name of Mohishahur, Singer Pankaj Mallick and Bani Kumar also made notable contribution to bring in all the legendary singers of Bengal and made them sing significant songs.
For example Manobendra Mukherjee sang “tabo achinto”, Dijen Mukherjee sang “jago tumi jago”. The other singers included Supriti Ghosh, Suptrava Sarkar, Sandhya Mukherjee, Shaymal Mitra, Utpala Sen and others. The mythology relating to ascending of Goddess Durga and defeating the Asuras including Shumbha Nishumbha, Raktabeej, etc.,was depicted through the slokas of Mohishashur Mordini.
Birendra Bhadra was unparallel in the manner in which he pronounced the Sanskrit sloks, which could not be replicated and when Uttam Kumar that greatest superstar of Bengal tried to do it, he was criticized and All India Radio again displayed the Mohishashur Mordini directed by Birendra Bhadra. Even Hindus across India celebrate Navratri and Dussehra based on the success of God in defeating evil powers.
Even today Bengalies feel that it creates a Godly atmosphere and gives the feeling that Goddess Durga had really arrived on earth. It is a historical piece of creation and should be restored.
Kalipada Sen and Bengali films.
Kalipada Sen and Bengali films.
Composer Kalipada Sen made very valuable contribution in Bengali films during the 50s, 60s and 70s. He faced the keen competition against legendary composers during the golden age of Bengali film music including Robin Chatterji, Anupam Ghatak, Pabitra Chatterji, Anil Bagchi, Salil Choudhury, Sudhin Dasgupta, Nochiketa Ghosh, Manobendra Mukherjee, Hemanta Mukherjee, Shyamal Mitra, and yet created his own identity.
He composed brilliant music in Uttam Kumar’s film Sare Chuattor in 1953. His shyamasangeet “e maya proponchomoy” sung by Dhananjoy Bhattacharya enchanted the viewers. The other song was chorus song “amar ei jouban champachameli bone” where Manobendra Mukherjee, Shyamal Mitra and others did lend their voices. Manobendra Mukherjee and Shyamal Mitra even acted in the film. The film was directed by Nirmal Dey.
In Chitta Basu’s film Chele Kar, Kalipada Sen composed decent music. The comedy film released in 1954 had legendary actors and actresses like Bikash Roy, Chabi Biswas, Arundhuti Debi, Suprabha Debi, to name a few. The songs “badla akash”, “rononigandha”, etc., became hit. Ajoy Kar directed Shyamali in 1956, and Kalipada Sen composed music for the super hit.
He composed music in many successful films of Uttam Kumar including Bidhilipi, Lakhahira, Punarmilan, Kankabatir Ghat, Raja Shaja, Upahar, Biraj Bou, etc. Very significantly he composed music in the films of directors from 50s to 60s. It included Ankush and Nirjan Saikate directed by Tapan Sinha, Darpa Churna directed by Dilip Ray, Bindur Chele directed by Chitta Bose, Sadanander Mela directed by Sukumar Dasgupta, Dui Bari directed by Ashim Pal, Debatra directed by Haridas Bhattacharya, Kathin Maya directed by Sushil Majumdar, Bamuner Meye directed by Ajoy Kar, to name a few.
At the same time he had composed music for all the legendary singers of the golden age including Sandhya Mukherjee, Hemanta Mukherjee, Manna Dey, Shyamal Mitra, Supriti Ghosh, Manobendra Mukherjee and others.
His films and music should be restored and preserved.
Composer Kalipada Sen made very valuable contribution in Bengali films during the 50s, 60s and 70s. He faced the keen competition against legendary composers during the golden age of Bengali film music including Robin Chatterji, Anupam Ghatak, Pabitra Chatterji, Anil Bagchi, Salil Choudhury, Sudhin Dasgupta, Nochiketa Ghosh, Manobendra Mukherjee, Hemanta Mukherjee, Shyamal Mitra, and yet created his own identity.
He composed brilliant music in Uttam Kumar’s film Sare Chuattor in 1953. His shyamasangeet “e maya proponchomoy” sung by Dhananjoy Bhattacharya enchanted the viewers. The other song was chorus song “amar ei jouban champachameli bone” where Manobendra Mukherjee, Shyamal Mitra and others did lend their voices. Manobendra Mukherjee and Shyamal Mitra even acted in the film. The film was directed by Nirmal Dey.
In Chitta Basu’s film Chele Kar, Kalipada Sen composed decent music. The comedy film released in 1954 had legendary actors and actresses like Bikash Roy, Chabi Biswas, Arundhuti Debi, Suprabha Debi, to name a few. The songs “badla akash”, “rononigandha”, etc., became hit. Ajoy Kar directed Shyamali in 1956, and Kalipada Sen composed music for the super hit.
He composed music in many successful films of Uttam Kumar including Bidhilipi, Lakhahira, Punarmilan, Kankabatir Ghat, Raja Shaja, Upahar, Biraj Bou, etc. Very significantly he composed music in the films of directors from 50s to 60s. It included Ankush and Nirjan Saikate directed by Tapan Sinha, Darpa Churna directed by Dilip Ray, Bindur Chele directed by Chitta Bose, Sadanander Mela directed by Sukumar Dasgupta, Dui Bari directed by Ashim Pal, Debatra directed by Haridas Bhattacharya, Kathin Maya directed by Sushil Majumdar, Bamuner Meye directed by Ajoy Kar, to name a few.
At the same time he had composed music for all the legendary singers of the golden age including Sandhya Mukherjee, Hemanta Mukherjee, Manna Dey, Shyamal Mitra, Supriti Ghosh, Manobendra Mukherjee and others.
His films and music should be restored and preserved.
Alpona Banerjee could have continued with her music career in films instead of nursery songs.
Alpona Banerjee could have continued with her music career in films instead of nursery songs.
Alpona Banerjee, the romantic playback singer of Bengal during the 50s and 60s, had earned stardom through the songs she had sung for children. Prominent among them included “chottopakhi chandana”, “hattimatim tim”, “kana machi bho bho”, “charka kate buri”, “agdum bagdum ghoradum”, “dol dol duluni”, etc. But while her popularity before the children remained intact over 70 years, her stardom in the film industry declined.
Born on 14th March, 1934, she got breaks in bollywood films due to her father’s intimacy with legendary composer Robin Chatterji and lyricist Gouri Prasanna Majumdar. Her song “matir ghare aaj nemeche chand re” entertained the Bengali film viewers in the early 50s. From providing playback in Bengali film Bidyasagar, she sang a number of romantic songs in leading films of the 50s.
Her song “hriday amar sundoro taba paye” composed by Robin Chatterji in Uttam Kumar Suchitra Sen’s film Sagarika stormed the audience. Her song performance in the film Shubhada was specially acclaimed.
While her film career blossomed in the 50s, her Bengali modern songs bewildered the Bengali audience. Her romantic song “ami sundar bole tai to bondhu besecho bhalo amay” composed by Manobendra Mukherjee can be considered to be the most romantic song she had ever sung in her life. The other composition of Manobendra Mukherjee for her titled “mon bolche aaj sondhay kichu bolte tumi aasbeki” which became super hit.
Her other songs “Jodi tomar jibone” and “bolechile tumi gaan shonaabe” were equally romantic. She at the same time sung songs in prominent films like Chele Kar under composition of Kalipada Sen, Personal Assistant under composition of Nochiketa Ghosh, Pathe Holo Deri composed by Robin Chatterji. She was married to Sridhar Mukherjee and faded away from the film music arena in the 60s.
She also sang songs in romyogeeti in All India Radio. The other films where she made valuable contribution included Bidhilipi, Kar Pape, Na, Chele Kar, Shilpi, Agni Parikkha, Bhangagara, etc. Her other basic discs which were prominent included “ami alpone eke jai”, “bokulgandhe Jodi akash”, “tomar moner rong legeche”, “samiran phire chao”, etc.
Viewers wonder that if Alpona Banerjee had not sung nursery songs for children which in Bengali is termed “charar gaan”, she could have done great justice to her romantic voice and her place would have been besides Sandhya Mukherjee and Geeta Dutt who dominated Bengali film music and modern songs during 50s and 60s. The audience had an impression of Alpona Banerjee’s voice related to children’s fairy tales which got more predominance over other songs. She died on 24th July, 2009, at the age of 75 years. Her songs and films should be preserved.
Alpona Banerjee, the romantic playback singer of Bengal during the 50s and 60s, had earned stardom through the songs she had sung for children. Prominent among them included “chottopakhi chandana”, “hattimatim tim”, “kana machi bho bho”, “charka kate buri”, “agdum bagdum ghoradum”, “dol dol duluni”, etc. But while her popularity before the children remained intact over 70 years, her stardom in the film industry declined.
Born on 14th March, 1934, she got breaks in bollywood films due to her father’s intimacy with legendary composer Robin Chatterji and lyricist Gouri Prasanna Majumdar. Her song “matir ghare aaj nemeche chand re” entertained the Bengali film viewers in the early 50s. From providing playback in Bengali film Bidyasagar, she sang a number of romantic songs in leading films of the 50s.
Her song “hriday amar sundoro taba paye” composed by Robin Chatterji in Uttam Kumar Suchitra Sen’s film Sagarika stormed the audience. Her song performance in the film Shubhada was specially acclaimed.
While her film career blossomed in the 50s, her Bengali modern songs bewildered the Bengali audience. Her romantic song “ami sundar bole tai to bondhu besecho bhalo amay” composed by Manobendra Mukherjee can be considered to be the most romantic song she had ever sung in her life. The other composition of Manobendra Mukherjee for her titled “mon bolche aaj sondhay kichu bolte tumi aasbeki” which became super hit.
Her other songs “Jodi tomar jibone” and “bolechile tumi gaan shonaabe” were equally romantic. She at the same time sung songs in prominent films like Chele Kar under composition of Kalipada Sen, Personal Assistant under composition of Nochiketa Ghosh, Pathe Holo Deri composed by Robin Chatterji. She was married to Sridhar Mukherjee and faded away from the film music arena in the 60s.
She also sang songs in romyogeeti in All India Radio. The other films where she made valuable contribution included Bidhilipi, Kar Pape, Na, Chele Kar, Shilpi, Agni Parikkha, Bhangagara, etc. Her other basic discs which were prominent included “ami alpone eke jai”, “bokulgandhe Jodi akash”, “tomar moner rong legeche”, “samiran phire chao”, etc.
Viewers wonder that if Alpona Banerjee had not sung nursery songs for children which in Bengali is termed “charar gaan”, she could have done great justice to her romantic voice and her place would have been besides Sandhya Mukherjee and Geeta Dutt who dominated Bengali film music and modern songs during 50s and 60s. The audience had an impression of Alpona Banerjee’s voice related to children’s fairy tales which got more predominance over other songs. She died on 24th July, 2009, at the age of 75 years. Her songs and films should be preserved.
Contribution of Prabir Mojumdar in Bengali modern songs.
Contribution of Prabir Mojumdar in Bengali modern songs.
Probir Mojumdar was one of innovative composers of the golden age who had contributed for Bengali modern songs both with innovative lyrics and brilliant tunes during 50s, 60s and 70s. He was associated with Salil Choudhury for some time and learnt the art of music composition from him too.
Born in 1928, Probir Mojumdar created attention in the Bengali arena with his landmark composition for Dhananjoy Bhattacharya titled “matite janmo nilam, mati tai rakte misheche” in the late 50s. The lyrics of the songs were also written by Probir Mojumdar himself. The song was related to the struggle for freedom during the 40s.
Probir Mojumdar, was remembered for one of the most romantic songs sung by classical singer Manobendra Mukherjee, titled “ei nil nil jal sagore, elomelo sure gan gaowa”. The song had very balanced use of the piano and the soft orchestration was as poetic as the romantic presentation of Manobendra Mukherjee.
Other song for Manobendra Mukherjee tilted “ekhono ei raat” was a blank verse having an odd beat. The song became superhit with the charismatic intonation of Manobendra Mukherjee. The other brilliant composition of Prabir Mojumdar included “kanak chapa dhan” sung by Tarun Banerjee.
He created the brilliant song “raat koto ke jane” for Manna Dey which became superhit. His composition for Nirmala Mishra titled “o tota pakhire” became an everlasting hit having folk flavor.
Probir Mojumdar made notable contribution in Bengali film music as well. He composed music for the film Sri Sri Ramkrishna in the mid-50s. He composed music for Rajen Tarafdar’s off-beat film Jibon Kahini in the early 60s.
The other films for which he composed music, included Teen Pari Choy Premik, Surjosakhhi, Karoti, etc., which were released in the 80s. His name is used with the same dignity as the name of other followers of Salil Choudhury like Kanu Ghosh, Abhijit Banerjee, Anal Chatterji. His music and the films should be restored.
Probir Mojumdar was one of innovative composers of the golden age who had contributed for Bengali modern songs both with innovative lyrics and brilliant tunes during 50s, 60s and 70s. He was associated with Salil Choudhury for some time and learnt the art of music composition from him too.
Born in 1928, Probir Mojumdar created attention in the Bengali arena with his landmark composition for Dhananjoy Bhattacharya titled “matite janmo nilam, mati tai rakte misheche” in the late 50s. The lyrics of the songs were also written by Probir Mojumdar himself. The song was related to the struggle for freedom during the 40s.
Probir Mojumdar, was remembered for one of the most romantic songs sung by classical singer Manobendra Mukherjee, titled “ei nil nil jal sagore, elomelo sure gan gaowa”. The song had very balanced use of the piano and the soft orchestration was as poetic as the romantic presentation of Manobendra Mukherjee.
Other song for Manobendra Mukherjee tilted “ekhono ei raat” was a blank verse having an odd beat. The song became superhit with the charismatic intonation of Manobendra Mukherjee. The other brilliant composition of Prabir Mojumdar included “kanak chapa dhan” sung by Tarun Banerjee.
He created the brilliant song “raat koto ke jane” for Manna Dey which became superhit. His composition for Nirmala Mishra titled “o tota pakhire” became an everlasting hit having folk flavor.
Probir Mojumdar made notable contribution in Bengali film music as well. He composed music for the film Sri Sri Ramkrishna in the mid-50s. He composed music for Rajen Tarafdar’s off-beat film Jibon Kahini in the early 60s.
The other films for which he composed music, included Teen Pari Choy Premik, Surjosakhhi, Karoti, etc., which were released in the 80s. His name is used with the same dignity as the name of other followers of Salil Choudhury like Kanu Ghosh, Abhijit Banerjee, Anal Chatterji. His music and the films should be restored.
Contribution of Manobendra Mukherjee as composer.
Contribution of Manobendra Mukherjee as composer.
Manobendra Mukherjee had glorified the world of Bengali classical music for more than 35 years. The entire 50s, 60s and 70s was designated as the golden age of Bengali modern songs and Manobendra Mukherjee’s individual performance as vocal classical singer require no special introduction.
But his contribution as composer requires to be highlighted. Manobendra’s composition for himself in the 50s was unique. The romantic songs composed by him included “emni kore porbe mone baki jibon dhore”, “ami eto je tomay bhalobesechi”, “koto asha niye tumi esechile”, etc. Most of these songs stand out as the most romantic songs in the entire history of Bengali modern songs. The lyrics of Shyamal Gupta took the listeners to a different world of plutonic love.
In the 60s, Manobendra Mukherjee continued with his majestic tunes most of which did great business in Bengal. Some of them had classical appeal including “na jeona modhu jamini”, “ei moshumi mon”, “sangi bihongi tumi je amar”, etc. His composition in films like Chapadangar Bou in 1954, Sanjher Pradeep in 1955, Mayamrigo in 1960, Bodhu in 1962, Godhuli Belai in 1966, Joy Jayanti in 1970, created by that period of time.
But Manobendra Mukherjee’s composition for other leading singers of Bengal, both male and female, created sensation in the 50s, 60s and 70s. His landmark composition for Supriti Ghosh titled “gane gane ami je khuji tomay”, composition for Bani Ghoshal titled “kuasha ghera nil pahare” created sensation in the 50s.
Manobendra Mukherjee’s composition for Alpona Banerjee titled “mon bolche sandhay kichu bolte tumi aasbe ki” and “tumi sundor bole tai to bondhu”, created sensation in the 60s. Manobendra gave melodious tune to Shefali Chakravarty titled “kemone janabo bolo e pranero bedona” having both classical and romantic tune.
Manobendra Mukherjee gave folk tune to Tarun Banerjee in the song “champakoli go koto name dekechi tomay”. The list can go on.
Manobendra’s creation requires to be unearthed. There are many melodious compositions of Manobendra made in the 50s, which had not been reprinted by HMV. If displayed, they can attract the new generation and entertain them.
Manobendra Mukherjee had glorified the world of Bengali classical music for more than 35 years. The entire 50s, 60s and 70s was designated as the golden age of Bengali modern songs and Manobendra Mukherjee’s individual performance as vocal classical singer require no special introduction.
But his contribution as composer requires to be highlighted. Manobendra’s composition for himself in the 50s was unique. The romantic songs composed by him included “emni kore porbe mone baki jibon dhore”, “ami eto je tomay bhalobesechi”, “koto asha niye tumi esechile”, etc. Most of these songs stand out as the most romantic songs in the entire history of Bengali modern songs. The lyrics of Shyamal Gupta took the listeners to a different world of plutonic love.
In the 60s, Manobendra Mukherjee continued with his majestic tunes most of which did great business in Bengal. Some of them had classical appeal including “na jeona modhu jamini”, “ei moshumi mon”, “sangi bihongi tumi je amar”, etc. His composition in films like Chapadangar Bou in 1954, Sanjher Pradeep in 1955, Mayamrigo in 1960, Bodhu in 1962, Godhuli Belai in 1966, Joy Jayanti in 1970, created by that period of time.
But Manobendra Mukherjee’s composition for other leading singers of Bengal, both male and female, created sensation in the 50s, 60s and 70s. His landmark composition for Supriti Ghosh titled “gane gane ami je khuji tomay”, composition for Bani Ghoshal titled “kuasha ghera nil pahare” created sensation in the 50s.
Manobendra Mukherjee’s composition for Alpona Banerjee titled “mon bolche sandhay kichu bolte tumi aasbe ki” and “tumi sundor bole tai to bondhu”, created sensation in the 60s. Manobendra gave melodious tune to Shefali Chakravarty titled “kemone janabo bolo e pranero bedona” having both classical and romantic tune.
Manobendra Mukherjee gave folk tune to Tarun Banerjee in the song “champakoli go koto name dekechi tomay”. The list can go on.
Manobendra’s creation requires to be unearthed. There are many melodious compositions of Manobendra made in the 50s, which had not been reprinted by HMV. If displayed, they can attract the new generation and entertain them.
Nochiketa Ghosh's contribution in Bengali films.
Nochiketa Ghosh’s contribution in Bengali films.
Nochiketa Ghosh had contributed widely both in Bengali film music and Bengali modern songs in the 50s, 60s and 70s. In the 50s he showed his metal in Uttam Kumar’s film Nabajanma. Manobendra Mukherjee’s song “ore mon majhi” and Dhananjoy Bhattacharya’s “kalama katiya” gave expression to Nochiketa Ghosh’s folk tunes.
Nochiketa Ghosh’s music in Uttam Kumar’s film Trijama was equally sublime. Sandhya Mukherjee’s song “banmoyurir naach dekhte jabo” and “matite chandramallika” were equally brilliant. In the 50s, the other notable films where Nochiketa Ghosh’s music was impressive include Uttam Kumar’s film Indrani and Prithibi Amare Chaye. Geeta Dutt’s song “nishiraat bankha chand”, “ogo shundoro”, “kanak kanak madhur badhon” were some of the greatest hits of Geeta Dutt in her entire career. The lips of Mala Sinha and Suchitra Sen were impressive in these films. Hemanta Mukherjee’s song “surjo dobar pala” became super hit in the late 80s.
In the 60s, Nochiketa Ghosh composed music in average films. Prominent among them included Bhanu Pelo Lottery where Shyamal Mitra’s song “putul nebe go” became very popular. He again made a huge comeback in Uttam Kumar’s film Nishi Padda in the early 70s. Manna Dey’s songs “ja khushi ora bole boluk”, “na na na aaj rate aar” became super hit in the 70s. Manna Dey’s songs in Uttam Kumar’s film Chiradiner, like “phool pakhi bondhu amar chilo”, “manush khun hole pore”, “lal nil sabujeri mela boseche”, “tumi amar chirodiner” became super hit.
In Uttam Kumar’s film Stree, Manna Dey’s songs “hajar takar jhar batita”, “o se jotoi kalo hok”, “jemon shapinike posh manay ojha” became. Nochiketa Ghosh’s music in the film Sanyasi Raja was considered to be his best creation by critics. Manna Dey’s songs “shashikanto tumi dekchi”, “bhalobashar agun jalao”, were probably the best songs sung for Uttam Kumar in royal andaz. His composition in Uttam Kumar’s films Dhanni Meye and Mouchak require special mention. Manna Dey’s songs in these films like “sab khela sera bangalir tumi football”, “tabole to prem debena”, “paglagarod”, etc., flabbergasted the Bengali audience in the mid-70s.
Nochiketa Ghosh made many landmark tunes in Bengali modern songs. Some of them included Manobendra Mukherjee’s romantic songs “seto naam dhore kono din dakeni amay”, “bone noy mone mor”, “o amar chandramallika”, “aha na roy na”, etc. His composition “amar ganer sworolipi lekha robe” for Hemanta Mukherjee stormed Bengal in the early 50s. He died in the late 70s, otherwise he would have given many more notable tunes. His songs and films should be preserved.
Nochiketa Ghosh had contributed widely both in Bengali film music and Bengali modern songs in the 50s, 60s and 70s. In the 50s he showed his metal in Uttam Kumar’s film Nabajanma. Manobendra Mukherjee’s song “ore mon majhi” and Dhananjoy Bhattacharya’s “kalama katiya” gave expression to Nochiketa Ghosh’s folk tunes.
Nochiketa Ghosh’s music in Uttam Kumar’s film Trijama was equally sublime. Sandhya Mukherjee’s song “banmoyurir naach dekhte jabo” and “matite chandramallika” were equally brilliant. In the 50s, the other notable films where Nochiketa Ghosh’s music was impressive include Uttam Kumar’s film Indrani and Prithibi Amare Chaye. Geeta Dutt’s song “nishiraat bankha chand”, “ogo shundoro”, “kanak kanak madhur badhon” were some of the greatest hits of Geeta Dutt in her entire career. The lips of Mala Sinha and Suchitra Sen were impressive in these films. Hemanta Mukherjee’s song “surjo dobar pala” became super hit in the late 80s.
In the 60s, Nochiketa Ghosh composed music in average films. Prominent among them included Bhanu Pelo Lottery where Shyamal Mitra’s song “putul nebe go” became very popular. He again made a huge comeback in Uttam Kumar’s film Nishi Padda in the early 70s. Manna Dey’s songs “ja khushi ora bole boluk”, “na na na aaj rate aar” became super hit in the 70s. Manna Dey’s songs in Uttam Kumar’s film Chiradiner, like “phool pakhi bondhu amar chilo”, “manush khun hole pore”, “lal nil sabujeri mela boseche”, “tumi amar chirodiner” became super hit.
In Uttam Kumar’s film Stree, Manna Dey’s songs “hajar takar jhar batita”, “o se jotoi kalo hok”, “jemon shapinike posh manay ojha” became. Nochiketa Ghosh’s music in the film Sanyasi Raja was considered to be his best creation by critics. Manna Dey’s songs “shashikanto tumi dekchi”, “bhalobashar agun jalao”, were probably the best songs sung for Uttam Kumar in royal andaz. His composition in Uttam Kumar’s films Dhanni Meye and Mouchak require special mention. Manna Dey’s songs in these films like “sab khela sera bangalir tumi football”, “tabole to prem debena”, “paglagarod”, etc., flabbergasted the Bengali audience in the mid-70s.
Nochiketa Ghosh made many landmark tunes in Bengali modern songs. Some of them included Manobendra Mukherjee’s romantic songs “seto naam dhore kono din dakeni amay”, “bone noy mone mor”, “o amar chandramallika”, “aha na roy na”, etc. His composition “amar ganer sworolipi lekha robe” for Hemanta Mukherjee stormed Bengal in the early 50s. He died in the late 70s, otherwise he would have given many more notable tunes. His songs and films should be preserved.
Akhil Bandhu Ghosh never got his dues.
Akhilbandhu Ghosh never got his dues.
There is a harsh truth in respect of success of musicians in India. It is said that talent alone is not the determinative factor for the success of a singer. Contacts, combination with notable composers, record companies they had equally important role to play in the success of singers.
It had happened with Akhil Bandhu Ghosh, a gifted classical singer of Bengal. Classical music reached its zenith during the 40s and 50s. With the performances of genius singers like Ghyanendra Prashad Goswami, Bhiswadeb Chatterji and Tarapada Chakravarty, the next generation were encouraged to learn classical ragas. Akhil Bandhu Ghosh used his classical touch in modern Bengali songs during the 50s along with Dhanonjoy Bhattacharya, Manobendra Mukherjee, Satinath Mukherjee, Manna Dey and others.
His song “mayamrigo sama” did reach the music-lovers of Bengal. He sang even songs having folk tunes embedded in them like “banshariya banshi bajayo na” and “emni dine ma je amar”, etc. His songs “piyal shakhar phake o se” and “shipra nadir tire” displayed the dawn and dusk of rural Bengal in the 50s.
But most of his classical records were recorded in less known companies like Megaphone and Hindustan. He did not get the patronage of HMV during the 50s if compared with the other classical singers. Yet his classical songs had class and style. The landmark songs included “keno praharo na jete moromer bina baje”, “aaji chandini rati go”, “tomar bhubane phuler mela”, etc. He even sang songs based on orthodox ragas.
Many of his songs were sung again by Indranil Sen in the 1990s. His song “o dayal bichar koro” had not lost its appeal after 50 years of its creation. Inspite of his free flow of voice, he did not get the recognition he deserved.
Other than Manna Dey, Manobendra Mukherjee and Dhanonjoy Bhattacharya there were hardly any other singer like Akhil Bandhu Ghosh who could reach the complicated ragas to the listeners in a lucid manner. His songs should be preserved.
There is a harsh truth in respect of success of musicians in India. It is said that talent alone is not the determinative factor for the success of a singer. Contacts, combination with notable composers, record companies they had equally important role to play in the success of singers.
It had happened with Akhil Bandhu Ghosh, a gifted classical singer of Bengal. Classical music reached its zenith during the 40s and 50s. With the performances of genius singers like Ghyanendra Prashad Goswami, Bhiswadeb Chatterji and Tarapada Chakravarty, the next generation were encouraged to learn classical ragas. Akhil Bandhu Ghosh used his classical touch in modern Bengali songs during the 50s along with Dhanonjoy Bhattacharya, Manobendra Mukherjee, Satinath Mukherjee, Manna Dey and others.
His song “mayamrigo sama” did reach the music-lovers of Bengal. He sang even songs having folk tunes embedded in them like “banshariya banshi bajayo na” and “emni dine ma je amar”, etc. His songs “piyal shakhar phake o se” and “shipra nadir tire” displayed the dawn and dusk of rural Bengal in the 50s.
But most of his classical records were recorded in less known companies like Megaphone and Hindustan. He did not get the patronage of HMV during the 50s if compared with the other classical singers. Yet his classical songs had class and style. The landmark songs included “keno praharo na jete moromer bina baje”, “aaji chandini rati go”, “tomar bhubane phuler mela”, etc. He even sang songs based on orthodox ragas.
Many of his songs were sung again by Indranil Sen in the 1990s. His song “o dayal bichar koro” had not lost its appeal after 50 years of its creation. Inspite of his free flow of voice, he did not get the recognition he deserved.
Other than Manna Dey, Manobendra Mukherjee and Dhanonjoy Bhattacharya there were hardly any other singer like Akhil Bandhu Ghosh who could reach the complicated ragas to the listeners in a lucid manner. His songs should be preserved.
Satinath Mukherjee was versatile classical singer.
Satinath Mukherjee was versatile classical singer.
Satinath Mukherjee was one of the versatile classical singers who did not get dues during the golden age. The 50s and 60s were categorized with notable classical and semi-classical singers in the Bengal arena where Manobendra Mukherjee, Manna Dey, Dhananjoy Bhattacharya, Akhil Bandhu Ghosh and other giants galvanized the world of modern songs.
Satinath Mukherjee, the guru of notable singer Shyamal Mitra, had a huge partnership with lyricist Shyamal Gupta and presented his flora of classical ragas in Bengali modern songs. His songs “pashaner buke likhona amar naam”, “bono patho majhe”, “jibone Jodi deep”, etc. were milestones of Bengali modern songs.
He sang separate private songs involving “raag pradhan” which described the movement of separate ragas like Imon, Baghesri, Darbari Kanada, Behag, Ashawari, etc. Some of his classical songs included “bojhona keno ami je koto eka”, “jedin jibone tumi”, “baluka belay kurai jhinuk”, to name a few. Very significantly most of the songs were composed by himself.
As a composer he used to be considered a giant of giants. His compositions for other legendary singers included “tomar pother prante moner monideep jele rekhechi” and “bhule gechi kobe” sung by Manobendra Mukherjee, “eto alo aar eto hasi gaan” sung by Shyamal Mitra, “ami cheyechi tomay” sung by Dhananjoy Bhattacharya, “tomar moto amiyoto koto soyechi” sung by Pannalal Bhattacharya, to name a few.
Besides his own student Dipak Maitra had sung few songs composed by Satinath Mukherjee included “koto kotha bola holona”. Satinath Mukherjee is associated with the compositions for the two maestros in Indian music namely Mohammad Rafi and Lata Mangeshkar.
Lata’s first record in Bengali namely “akash pradeep jale” and “koto tara” were the compositions of the genius Satinath Mukherjee. Satinath Mukherjee’s landmark compositions for Mohammad Rafi included “ekhono biday bolona”, “pakhitar buke jeno teer merona”, etc. It is very sad that Satinath Mukherjee’s immense musical talents were not used in Bengali films. He had sung rare songs like “majhe nodi bahe re” in Tapan Sinha’s film Atithi, songs in Uttam Kumar’s film Bon Palashir Padabali, etc.
Otherwise Satinath Mukherjee, the sincere student of Ustad Bare Ghulam Ali Khan was one of the revolutionary singers and composers who remained an institution by himself. His students included singer and composer Jotileshwar Mukherjee who carried on the legacy of Satinath Mukherjee. Renowned singer Utpala Sen was his wife. The songs and creations of Satinath should be preserved and restored.
Satinath Mukherjee was one of the versatile classical singers who did not get dues during the golden age. The 50s and 60s were categorized with notable classical and semi-classical singers in the Bengal arena where Manobendra Mukherjee, Manna Dey, Dhananjoy Bhattacharya, Akhil Bandhu Ghosh and other giants galvanized the world of modern songs.
Satinath Mukherjee, the guru of notable singer Shyamal Mitra, had a huge partnership with lyricist Shyamal Gupta and presented his flora of classical ragas in Bengali modern songs. His songs “pashaner buke likhona amar naam”, “bono patho majhe”, “jibone Jodi deep”, etc. were milestones of Bengali modern songs.
He sang separate private songs involving “raag pradhan” which described the movement of separate ragas like Imon, Baghesri, Darbari Kanada, Behag, Ashawari, etc. Some of his classical songs included “bojhona keno ami je koto eka”, “jedin jibone tumi”, “baluka belay kurai jhinuk”, to name a few. Very significantly most of the songs were composed by himself.
As a composer he used to be considered a giant of giants. His compositions for other legendary singers included “tomar pother prante moner monideep jele rekhechi” and “bhule gechi kobe” sung by Manobendra Mukherjee, “eto alo aar eto hasi gaan” sung by Shyamal Mitra, “ami cheyechi tomay” sung by Dhananjoy Bhattacharya, “tomar moto amiyoto koto soyechi” sung by Pannalal Bhattacharya, to name a few.
Besides his own student Dipak Maitra had sung few songs composed by Satinath Mukherjee included “koto kotha bola holona”. Satinath Mukherjee is associated with the compositions for the two maestros in Indian music namely Mohammad Rafi and Lata Mangeshkar.
Lata’s first record in Bengali namely “akash pradeep jale” and “koto tara” were the compositions of the genius Satinath Mukherjee. Satinath Mukherjee’s landmark compositions for Mohammad Rafi included “ekhono biday bolona”, “pakhitar buke jeno teer merona”, etc. It is very sad that Satinath Mukherjee’s immense musical talents were not used in Bengali films. He had sung rare songs like “majhe nodi bahe re” in Tapan Sinha’s film Atithi, songs in Uttam Kumar’s film Bon Palashir Padabali, etc.
Otherwise Satinath Mukherjee, the sincere student of Ustad Bare Ghulam Ali Khan was one of the revolutionary singers and composers who remained an institution by himself. His students included singer and composer Jotileshwar Mukherjee who carried on the legacy of Satinath Mukherjee. Renowned singer Utpala Sen was his wife. The songs and creations of Satinath should be preserved and restored.
Dhananjoy Bhattacharya remained unwept unsung.
Dhananjoy Bhattacharya remained unwept unsung.
Dhananjoy Bhattacharya was one of the classic-best singers of the 50s and the 60s. He was used by most of the leading composers of Bengali films, like Salil Choudhury, Anil Bagchi, Robin Chatterji and other stalwarts.
Dhananjoy Bhattacharya sang the sung “jhir jhir jhir jhir jhir jhir borosa, hay kigo horosha” in the film Pasher Bari. Later the film Pasher Bari was remade in hindi with the name Parosan where Mehmood and Kishore Kumar played cameos. Dhananjoy Bhattacharya also acted in the film Pasher Bari in the role which was later played by Kishore Kumar in Parosan.
Raichand Boral used Dhananjoy Bhattacharya in the film Nilachale Mahaprabhu based on the life of Chaitanya Deb. His song “hari haraye nomokrishna” and “jagannath jagathbandhu” was as brilliant as Manobendra Mukherjee’s “jagannath jagatbandhu”. Anil Bagchi used him in the film Rani Rashmoni in the song “gaya ganga”.
Dhananjoy Bhattacharya continued his dream run with the song “kataro agathe chino paye rakta jhare” in Uttam Kumar’s film Sabar Upare and “bondhure” in Uttam Kumar’s Shilpi which were composed by Robin Chatterji. Shyamal Mitra used Dhananjoy in Uttam Kumar’s film Bhranti Bilas in the song “ahalya”. From the 60s and 70s he devoted time in singing shyamasangeet, the songs for Goddess Kali.
His modern songs in Bengali were sensation by every musical standard. His classically oriented songs and western songs like “jhanana jhanana baje” composed by Salil Choudhury, ““matite jonmo nilam” composed by Prabir Mojumdar, “kabir kheyale premomoy tumi samrat shahjahan” composed by himself, “ogo suchorita” composed by Sudhin Dasgupta, “ei jhir jhir jhir batashe” composed by Sudhin Dasgupta, “ruma jhuma jhum” composed by Rotu Mukherjee, “antabihin oi andharater” composed by Salil Choudhury, “shilpi moner bedona”, “tandra elo bolo jaagi kemon kore”, “chameli melona ankhi”, “bashorer deep aaj”, “Jodi bhule jao more”, to name a few.
He also sang the Bengali version of the song “ayega anewala” sung by Lata in the film Mahal, composed by Khemchand Prakash with the Bengali title “sono go”. He was indispensable figure both in films as well as Bengali modern songs. His songs in Uttam Kumar’s film Nabajanma, religious film Sadhok Bamakhepa, Jotomoth Tatapath require special mention.
Inspite of having huge classical gharana and control, he had remained an unsung singer. But other than Manna Dey and Manobendra Mukherjee, no other Bengali singer had the range and variety of singing like Dhanonjoy Bhattacharya. His songs and films should be preserved.
Dhananjoy Bhattacharya was one of the classic-best singers of the 50s and the 60s. He was used by most of the leading composers of Bengali films, like Salil Choudhury, Anil Bagchi, Robin Chatterji and other stalwarts.
Dhananjoy Bhattacharya sang the sung “jhir jhir jhir jhir jhir jhir borosa, hay kigo horosha” in the film Pasher Bari. Later the film Pasher Bari was remade in hindi with the name Parosan where Mehmood and Kishore Kumar played cameos. Dhananjoy Bhattacharya also acted in the film Pasher Bari in the role which was later played by Kishore Kumar in Parosan.
Raichand Boral used Dhananjoy Bhattacharya in the film Nilachale Mahaprabhu based on the life of Chaitanya Deb. His song “hari haraye nomokrishna” and “jagannath jagathbandhu” was as brilliant as Manobendra Mukherjee’s “jagannath jagatbandhu”. Anil Bagchi used him in the film Rani Rashmoni in the song “gaya ganga”.
Dhananjoy Bhattacharya continued his dream run with the song “kataro agathe chino paye rakta jhare” in Uttam Kumar’s film Sabar Upare and “bondhure” in Uttam Kumar’s Shilpi which were composed by Robin Chatterji. Shyamal Mitra used Dhananjoy in Uttam Kumar’s film Bhranti Bilas in the song “ahalya”. From the 60s and 70s he devoted time in singing shyamasangeet, the songs for Goddess Kali.
His modern songs in Bengali were sensation by every musical standard. His classically oriented songs and western songs like “jhanana jhanana baje” composed by Salil Choudhury, ““matite jonmo nilam” composed by Prabir Mojumdar, “kabir kheyale premomoy tumi samrat shahjahan” composed by himself, “ogo suchorita” composed by Sudhin Dasgupta, “ei jhir jhir jhir batashe” composed by Sudhin Dasgupta, “ruma jhuma jhum” composed by Rotu Mukherjee, “antabihin oi andharater” composed by Salil Choudhury, “shilpi moner bedona”, “tandra elo bolo jaagi kemon kore”, “chameli melona ankhi”, “bashorer deep aaj”, “Jodi bhule jao more”, to name a few.
He also sang the Bengali version of the song “ayega anewala” sung by Lata in the film Mahal, composed by Khemchand Prakash with the Bengali title “sono go”. He was indispensable figure both in films as well as Bengali modern songs. His songs in Uttam Kumar’s film Nabajanma, religious film Sadhok Bamakhepa, Jotomoth Tatapath require special mention.
Inspite of having huge classical gharana and control, he had remained an unsung singer. But other than Manna Dey and Manobendra Mukherjee, no other Bengali singer had the range and variety of singing like Dhanonjoy Bhattacharya. His songs and films should be preserved.
Films like Dosti were path-breakers in Indian film history.
Films like Dosti were path-breakers in Indian Film History.
Bollywood films had been known for the entertainment they had provided over the years. Entertainment had compelled the producers and directors to make formula films where there was equal share of romance, comedy and action. There were other directors who believed in making films out of classic literature.
Satyen Bose, the director of Dosti experimented with the literature of Nihar Ranjan Gupta who wrote the story for the Bengali film Lalu Bhulu, the story of a blind and a handicapped boy. Sudhir Kumar and Sushil Kumar, were the two artists who played the role of the blind and handicapped boys. In this film the blind boy had an elder sister who declined to identify him. The sister worked as nurse.
Both the boys used to come to meet a small girl played by Baby Farida. Sanjay Khan was the elder brother of the small girl who never liked the presence of the two boys. The handicapped boy got admission in a school where Abhi Bhattacharya was the headmaster. Nana Palsekar who was a reputed teacher in the institution got inpressed with the brilliance of the handicapped boy and taught him.
Nana Palsekar took him to his own house for education as the colony where the boy stayed was full of mischievous boys. But his friend Mohan got deprived out of it. He collected money by singing songs in the street and paid the fees for his Board Exam. Hi friend stood first in the exam.
In the film music played a very important role. Laxmikant Pyarellal had composed only in the film Parasmani before Dosti. Dosti was undoubted their best creation. Mohammad Rafi was as brilliant as ever. The lyrics of Majrooh Sultanpuri made the viewers weep. The songs “janewalo zara”, “rahi manwa dukh ki chinta kyun satati hai”, “chahunga mai tujhe saanz sawere”, “mera to job hi kadam hai” sung by Rafi were milestones in Indian film history. In the Bengali version Lalu Bhulu, Robin Chatterji composed the music, Sailen Ray wrote the lyrics while Manobendra Mukherjee sang the tragic songs “dukho amar shesh kore dao probhu”, “jar hiya akasher”, “ei pran jharona jaglo”, “dukher pothe naamli Jodi”, to name a few. The film had message relating to morality, public policy, etc.
Dosti did brilliant business without any renowned hero like Dilip Kumar or Raj Kumar, a classical dancer like Vaijayantimala. The viewers appreciated classic films in those days and the film was a path-breaker in its true sense of the term.
Bollywood films had been known for the entertainment they had provided over the years. Entertainment had compelled the producers and directors to make formula films where there was equal share of romance, comedy and action. There were other directors who believed in making films out of classic literature.
Satyen Bose, the director of Dosti experimented with the literature of Nihar Ranjan Gupta who wrote the story for the Bengali film Lalu Bhulu, the story of a blind and a handicapped boy. Sudhir Kumar and Sushil Kumar, were the two artists who played the role of the blind and handicapped boys. In this film the blind boy had an elder sister who declined to identify him. The sister worked as nurse.
Both the boys used to come to meet a small girl played by Baby Farida. Sanjay Khan was the elder brother of the small girl who never liked the presence of the two boys. The handicapped boy got admission in a school where Abhi Bhattacharya was the headmaster. Nana Palsekar who was a reputed teacher in the institution got inpressed with the brilliance of the handicapped boy and taught him.
Nana Palsekar took him to his own house for education as the colony where the boy stayed was full of mischievous boys. But his friend Mohan got deprived out of it. He collected money by singing songs in the street and paid the fees for his Board Exam. Hi friend stood first in the exam.
In the film music played a very important role. Laxmikant Pyarellal had composed only in the film Parasmani before Dosti. Dosti was undoubted their best creation. Mohammad Rafi was as brilliant as ever. The lyrics of Majrooh Sultanpuri made the viewers weep. The songs “janewalo zara”, “rahi manwa dukh ki chinta kyun satati hai”, “chahunga mai tujhe saanz sawere”, “mera to job hi kadam hai” sung by Rafi were milestones in Indian film history. In the Bengali version Lalu Bhulu, Robin Chatterji composed the music, Sailen Ray wrote the lyrics while Manobendra Mukherjee sang the tragic songs “dukho amar shesh kore dao probhu”, “jar hiya akasher”, “ei pran jharona jaglo”, “dukher pothe naamli Jodi”, to name a few. The film had message relating to morality, public policy, etc.
Dosti did brilliant business without any renowned hero like Dilip Kumar or Raj Kumar, a classical dancer like Vaijayantimala. The viewers appreciated classic films in those days and the film was a path-breaker in its true sense of the term.
Uncommon songs of Manobendra Mukherjee.
Uncommon songs of Manobendra Mukherjee.
Manobendra Mukherjee, the classical best singer of the 50s, 60s and 70s, had left an everlasting treasure of romantic songs during his 50 years of musical career. The songs and compositions had embraced diverse areas in Bengali music including Nazrulgeeti, shyamasangeet, kirtans, Bagbajarer gaan, Ragprodhan, Ragastroyi, adhunik, etc.
If his romantic numbers like “ami eto je tomay bhalobesechi”, “emni kore porbe mone”, “ei bhalo ei bosonto noy” had stormed Bengali audience in the 50s, there were lot of uncommon songs which did not get publicity, which were rich in musical aspects. There are songs which showed Manobendra’s command over Hindustani classical and jugglery with taal and rhythm.
His song “bolo raat, bolo se kothay” could make the audience speechless with the somber mood and romantic presentation. Similarly the song “phulero dolay aji dole shemoray” sung by Manobendra Mukherjee and Shipra Basu had the flavor of conventional classical song. Similarly “nishitha ratero banshi” had shown Manobendra’s stylish presentation.
Similarly Manobendra had sung blank verses like “ei dur neel akash”, where there were hardly any table. The song was related to rhythm of waves of seas. His song “tumi je adhar tai boro bhalobashi”, composed by Himanshu Dutta had the romantic flavor embedded in it. Manobendra Mukherjee gave wider dimension to the romantic creation.
Besides “ei niralay sagoro belay” was based on reserve mood of the singer. His pure classical numbers like “bhule jete tumi bolona” and “tumi ki esecho aji” can make the music lovers enchanted. Manobendra had simplified classical songs in Bengali and persuaded the music lovers to get acquainted with classical harkats. Even his “romyogeeti” sung in All India Radio had variety and versatility.
His songs “bare bare ke jeno dake”, “rimjhim baje monjiro kar”, “ami parini bujhite parini” could make any classical singer proud. Besides, his song “koto je soyechi betha” composed by Chinmoy Lahiri had the flavor of thumri in Bengali. Manobendra had a huge history of singing devotional songs.
Most of his devotional songs including kirtans, shyama sangeet, bhakti geeti, had enriched Bengali film music. Some of them included “jagannath jagatbandhu” composed by Raichand Boral in the film Nilachale Mahaprabhu, songs sung in the film Badhu, composed by Manobendra himself, Joto Mat Toto Path and Sadhok Bamakhepa composed by Manobendra himself.
Independent research can be conducted on the creations of Manobendra Mukherjee including his classical songs and compositions. Many of his uncommon creations were valuable treasures which can motivate the new generation in developing their own music.
Remembering Salil Choudhury.
Remembering Salil Choudhury.
Salil Choudhury, noted scholar, poet, composer and literary giant was remembered on his birthday on 19th November, 2009. As he was a versatile scholar, his scholarly attributes were reflected in his creations. He was both the lyricist and the composer and numerous songs sung by legendary singers over 50 years.
His creation “ami parini bujhite parini” and “tumi jaante” for Manobendra Mukherjee were created with two different andaz, one having classical orientation while the other having westernized treatment. His creation “jhanana jhanana baje” and “antabihin oi andharater shesh” for Dhanonjoy Bhattacharya showed his class in handling classical singers.
On the other hand his strength in folk songs were evident in his song “sunayoni sunayoni” sung by Nirmalendu Choudhury and Sabita Choudhury. Nirmalendu became famous all across the world with his folk numbers. Salil Chouhdury huge experiment with Shymal Mitra in songs like “jadi kichu amare shudhao”, “aha oi ankabanka poth jai shudure”, “dur nai beshi dur oi”, “ja jare ja ja pakhi”, to name a few. In “jadi kichu amare shudhao”, Salil Choudhury’s orchestration was unique, half of the song was blank verse while the other half had musical treatment.
Salil Choudhury created a gem with the song “nil nil pakhi” for Sandhya Mukherjee. Besides, bengal’s literary community were astonished with Salil Choudhury conversion of famous poetry “ujjal ek jhak paira” sung by Sandhya Mukherjee into song. The poet’s feelings were translated into musical tune by sheer brilliance of Salil Choudhury. Other examples of converting legendary poems into songs include “runner” written by Shukanto Bhattacharya and “palki chole” written by Satyendranath Dutta which were sung by Hemanta Mukherjee which both became history. In “runner” the march of the postman on foot from remote corners of village was given adequate expression by Salil Choudhury.
Salil Choudhury’s national fame allowed him to do numerous experiments with bollywood singers like Mukesh and Lata. Articles after articles can be devoted to Lata Salil Choudhury creations in Bengali. Mukesh also sung hit song “jhum jhum pakshi nachona” composed by Salil Choudhury.
Salil Choudury created his masterpieces in Bengali films as well like Shyamal Mitra’s song “onek ghuriya sheshe” in Hrithik Ghatak’s film Bari Theke Paliye, Nirmalendu Choudhury’s song “sojoni o sojoni” and Manna Dey’s “uthali pathali amar buuk” in Rajen Tarafdar’s film Ganga. Besides his song “he bhai re bhai” and “baje go beena” sung by Manna Dey in the film Marjina Abdulla made the listeners speechless. Even Lata’s song “bujhbe na keu bujhbena” was equally popular.
Bimal Roy’s film Do Bigha Zameen was based on Salil Choudhury’s literature. His music in the films Do Bigha Zameen, Madhumati, Musafir, Parakh, Jagte Raho, Anand, Maya, Rajnigandha, etc., stand out as landmarks in Indian film history. He received filmfare award for brilliant performance in the film Madhumati. All the songs in the film including Lata’s “aja re”, “ghari ghari”, Rafi’s “tute hue khwabonme”, “jangal me mor nacha”, Mukesh’s “dil tarap tarap ke”, “suhana safar aur mausam hasin” touched the souls of numerous Indians in the late 50s.
Other notable songs of Salil Choudhury in bollywood films include “tasveer teri dil me” from Maya, “zindagi kaisi hai paheli hai”, “kahin dur jab din dhal jaye” from Anand, “rajnigandha” from Rajnigandha, “jago mohan pyare” from Jagte Raho, to name a few.
Bengal and India was as a whole was indebted to a maestro like Salil Choudhury and several researches can be undertaken for finding out the history behind his creations. One article is not enough to reiterate the immortal works of the giant creator. The creations should be preserved and restored.
Salil Choudhury, noted scholar, poet, composer and literary giant was remembered on his birthday on 19th November, 2009. As he was a versatile scholar, his scholarly attributes were reflected in his creations. He was both the lyricist and the composer and numerous songs sung by legendary singers over 50 years.
His creation “ami parini bujhite parini” and “tumi jaante” for Manobendra Mukherjee were created with two different andaz, one having classical orientation while the other having westernized treatment. His creation “jhanana jhanana baje” and “antabihin oi andharater shesh” for Dhanonjoy Bhattacharya showed his class in handling classical singers.
On the other hand his strength in folk songs were evident in his song “sunayoni sunayoni” sung by Nirmalendu Choudhury and Sabita Choudhury. Nirmalendu became famous all across the world with his folk numbers. Salil Chouhdury huge experiment with Shymal Mitra in songs like “jadi kichu amare shudhao”, “aha oi ankabanka poth jai shudure”, “dur nai beshi dur oi”, “ja jare ja ja pakhi”, to name a few. In “jadi kichu amare shudhao”, Salil Choudhury’s orchestration was unique, half of the song was blank verse while the other half had musical treatment.
Salil Choudhury created a gem with the song “nil nil pakhi” for Sandhya Mukherjee. Besides, bengal’s literary community were astonished with Salil Choudhury conversion of famous poetry “ujjal ek jhak paira” sung by Sandhya Mukherjee into song. The poet’s feelings were translated into musical tune by sheer brilliance of Salil Choudhury. Other examples of converting legendary poems into songs include “runner” written by Shukanto Bhattacharya and “palki chole” written by Satyendranath Dutta which were sung by Hemanta Mukherjee which both became history. In “runner” the march of the postman on foot from remote corners of village was given adequate expression by Salil Choudhury.
Salil Choudhury’s national fame allowed him to do numerous experiments with bollywood singers like Mukesh and Lata. Articles after articles can be devoted to Lata Salil Choudhury creations in Bengali. Mukesh also sung hit song “jhum jhum pakshi nachona” composed by Salil Choudhury.
Salil Choudury created his masterpieces in Bengali films as well like Shyamal Mitra’s song “onek ghuriya sheshe” in Hrithik Ghatak’s film Bari Theke Paliye, Nirmalendu Choudhury’s song “sojoni o sojoni” and Manna Dey’s “uthali pathali amar buuk” in Rajen Tarafdar’s film Ganga. Besides his song “he bhai re bhai” and “baje go beena” sung by Manna Dey in the film Marjina Abdulla made the listeners speechless. Even Lata’s song “bujhbe na keu bujhbena” was equally popular.
Bimal Roy’s film Do Bigha Zameen was based on Salil Choudhury’s literature. His music in the films Do Bigha Zameen, Madhumati, Musafir, Parakh, Jagte Raho, Anand, Maya, Rajnigandha, etc., stand out as landmarks in Indian film history. He received filmfare award for brilliant performance in the film Madhumati. All the songs in the film including Lata’s “aja re”, “ghari ghari”, Rafi’s “tute hue khwabonme”, “jangal me mor nacha”, Mukesh’s “dil tarap tarap ke”, “suhana safar aur mausam hasin” touched the souls of numerous Indians in the late 50s.
Other notable songs of Salil Choudhury in bollywood films include “tasveer teri dil me” from Maya, “zindagi kaisi hai paheli hai”, “kahin dur jab din dhal jaye” from Anand, “rajnigandha” from Rajnigandha, “jago mohan pyare” from Jagte Raho, to name a few.
Bengal and India was as a whole was indebted to a maestro like Salil Choudhury and several researches can be undertaken for finding out the history behind his creations. One article is not enough to reiterate the immortal works of the giant creator. The creations should be preserved and restored.
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