Nazrul melody in its diversity

Priyanka Gope (left) and Shahid Kabir Palash sing at the programme. Photo: Mumit M.

Production Department of Bangladesh Shilpakala Academy (BSA) arranged a musical soiree along with dance performances at National Music and Dance Centre auditorium of BSA on June 16.
The event featured a number of noted Nazrul artistes who skilfully lent their voices to the raaga-based numbers of Kazi Nazrul Islam; raaga created by Nazrul and Nazrul songs based on foreign tunes.
Inspired by North Indian musical legacy, the ever enlightened comet of Bengali music, Kazi Nazrul Islam created myriads of raaga-based melodious songs containing such a soothing essence mingled with mesmerising power that spellbind a true music enthusiast.
A Chhayanaut teacher, Bizon Chandra Mistry, started the programme through rendering “Bhoria Poran Shunitechhi Gaan” on Ektaal. Framed in raaga “Behag Bashant,” Nazrul wrote the song in January, 1930 for Monmatho Roy’s play “Mahua”.
Classifying raaga “Bhairav” into six forms, Nazrul continued on a raaga-based rendition programme titled “Haramoni.” Another Chhayanaut teacher Priyanka Gope performed the very song “Arun O Kanti Ke Go Jogi Bhikhari,” based on raaga “Ahir Bhairav.” Nazrul mingled raaga “Bhairav” with raaga “Kafi” to produce the song that was the first number of “Haramoni” programme aired on Akashbani Radio on October 8, 1939.
Based on raaga “Patdeep,” singer Shahid Kabir Palash rendered “Hey Priyo Amarey Debona Bhulitey.” Bijon Kumar Ghosh recorded the song in 1936.
Bipasha Guha Thakurta performed “Nupur Modhur Rumujhunu Boley,” (on Teentaal) that was based on raaga “Khamaj.” Gyanendra Nath Ghosh recorded the song in October 1932.
Based on raaga “Shudh Sharong,” Ratan Shaha presented “Jhor Jhor Bari Jhorey Ambor Byapiya” on Teentaal. Satyen Ghoshal recorded the song in 1942. Renowned artiste Yasmin Mushtari's “Ke Tumi Durer Shathi” followed.
Nazrul artiste Salahuddin Ahmed lent his voice to a Khayal genre “Keno Megher Chhaya,” based on raaga “Darbari Kanara.” Eminent artiste Gyanendra Proshad Goshwami recorded the song in 1940.
Choreographed by Shamim Ara Nipa, artistes of Nrityanchol presented a dance at the event with the song “Chanchal O Shyamol O Elo Gagoney.”
Anindita Chowdhury rendered “Porodeshi Megh Jao Rey Phirey,” based on raaga “Shinghendra Modhyoma” on Adha-Teentaal.
Director of Production Department of BSA Dr. Zakir Hussain performed “Megh Bihin Khoro Baishakhey,” on raaga “Shamonto Sharon.” Birendra Chandra Mitra recorded the song originally in 1947.
Based on raaga “Desh Shurat,” Joseph Kamol Roderick rendered “Keno Korun Shurey Hridoy Purey” on Ektaal. Kamola Jhoria recorded the song in 1932.
Yakub Ali Khan presented a Thumri genre “Pia Swaponey Esho Nirjoney” on Dadra while Sumon Chowdhury performed a Tappa genre “Aay Ma Uma Rakhbo Torey,” based on raaga “Kafi”, which was originally recorded by Gyanendra Proshad Goshwami.
Based on raaga “Nag Shoraboli”, Bizon Chandra Mistry and Priyanka Gope presented a duet number “Abar Bhalobashar Shadh Jagey” at the event.
The raaga based song session ended through the solo performances by Chhanda Chakraborti and Sanjoy Kabiraj followed by another dance performance by artistes of Nrityanchol.
Nazrul's unquenchable thirst for music took him to such heights that he enriched the trend of Bangla music through creating 17 idiosyncratic raaga. On January 13, 1940, a radio programme titled “Naboragmallika” was aired where six songs based on Nazrul created raaga like Nirjhorini, Benuka, Minakshi, Shondhya Maloti, Banokuntala, Dolonchapa were aired.
General Secretary of Chhaya-naut, Khairul Anam Shakil, rendered “Dolon Cha(n)pa Bon-e Doley,” on raaga “Doloncha(n)pa.”
Leena Taposhi Khan, Sujit Mustafa and Shahin Samad performed “Hashey Akashey Shuktara,” “Payela Boley” and “Jago Arun Bhairav” based on raaga “Arun Ranjoni,” “Ruup Monjuri” and “Arun Bhairav” respectively on the occasion.
Kazi Nazrul Islam adapted a number of foreign tunes (Arabic, Persian, Turkish, Egyptian, Cuban and more) for his unparalleled lyrics. Most of the songs feature high tempo.
Bulbul Maholanobish performed “Shukno Patar Nupur Paye,” adapted from a Turkish folk tune, while Ferdaus Ara rendered “Chamkey Chamkey Dhir Bhiru Paaye.” Nazrul adapted an Arabic tune for composing the song.
Nazrul's granddaughter Khilkhil Kazi also rendered another song “Rumjhum Rumjhum” originally in Arabic tune.
Anchoring the whole event with Dr. Zakir Hussain, Fatema Tuj-Zohra ended the soiree through rendering “”Dur Dwip Bashini,” that was composed adapting from a Cuban dance tune by Kazi Nazrul Islam.