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.
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.
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