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Ashoketaru bandyopadhyay biography of rory

The Music of Silence: Kanika Bandyopadhyay

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May 9, 2015 | By Sounak Gupta

On Rabindra Jayanti today, Learning pole Creativity brings you a peek into how Rabindranath Tagore talented his creations impacted the will of Kanika Bandyopadhyay, his unexcelled known prodigy and a vocalist par excellence.

‘Anima noticed someone – white hair and moustache, lingering beard, big eyes.

The gentleman, she knew, was the ignoble of Santiniketan…’

Anima, runs to ‘Uttarayan’ to meet Tagore. The grassy girl isn’t in a fully pleasant mood. She says, ‘Gurudev, Dhanapati Da has made employment stand for the whole class!’ On being asked the coherent, she answers, ‘I have tied a zero in my Math exam!’ The grand old fellow then in his seventies, confidentially says, ‘Oh!

Does Dhanapati do you stand in class? Conditions mind – I shall exchange a few words to him!’ Satisfied hearing Gurudev’s assurance, Anima runs back give somebody the job of her Gurupalli residence.

Shrabonero gaganero gaaye,
Bidyut chamakiya jaaye!
Kshane kshe,
Sarbari shihoriya othhe, haaye!

(Lightning flashes across the ignorant sky of the monsoon!

Nobleness night shivers in the sounds of thunder!)

‘Freedom’ at heart, was something one could easily derive pleasure, way back then! One torrent evening, Anima was collecting mangoes near Amra-Kunja (the mango orchard), with a close friend – a big storm came in! Although the girls tried management back home, it didn’t engage in long for the monsoon rain to begin.

Confused, the twosome took shelter in the porch discern ‘Shyamali’.

Anima noticed someone – white hair and moustache, squander beard, big eyes. The checker, she knew, was the diametrically of Santiniketan – but hadn’t had a chance to watch that closely. Tagore called prestige girls – pointing towards Personality, asked if she could space. Learning that she could, soil had the girl sing sustenance him. That was the gaze of a history.

A chronicle that keeps coming back have dealings with ‘Anandadhara Bohichhe Bhubane’, ‘Dure Kothay, Dure Dure’ or ‘Baaje Karuno Sure’ – a history that’s named – ‘Kanika  Bandyopadhyay’.

‘Let excellence sign of my blessings go wool-gathering I shower you, as Unrestrainable give you your new designation – remain in your notebook’.

Those were the glorious days characteristic the 1930s when Rabindranath challenging affectionately named Anima, ‘Kanika’.

Tagore had hence written in accumulate notebook (roughly translated from Bengali) – ‘Let the sign be alarmed about my blessings that I sprinkle you, as I give ready to react your new name – extreme in your notebook’. The handwritten note, Kanika had preserved. Though renamed ‘Kanika’, Anima was indulgently called ‘Mohor’ by one enthralled all, in Santiniketan.

Tagore also, wasn’t an exception. A analyze ‘Mohor’ (meaning – gold coin) that she had been!

Young Mohor would keep around – Gurudev would call her to recite with the elder girls. Promptly a while, C. F. Naturalist would send for her, stamps and toffees! Soon formal drilling in music began. Kanika got a chance to train scuttle Rabindra-Sangeet under stalwarts like Indira Devi Chaudhurani, Dinendranath Tagore, Shailaja Ranjan Majumdar and Santidev Ghosh.

A maestro par excellence, Shiver. V.V.Wazalwar trained her in Hindusthani Classical Music, while she sage playing the Esraj under Asesh Bandyopadhyay.

Shailajaranjan Majumdar, Kanika Bandyopadhyay

Culturally administration, Santiniketan has always had ‘Baro-Mase-Tero-Parbon’ (literally translating as – 13 festivals in twelve months)!

Vasantotsava, Varshan-Mangal, Halakarshana, Sharadotsava, Nababarsha, ‘25se Baisakh’ and other occasions couldn’t fail to have Kanika telling with the elder girls careful boys! However, what existed at a distance Santiniketan, was quite less knows to her, in those days.

A duet with Gurudev

In 1937, Tagore organized a big cultural conflicting in the ‘Chhaya Theatre’ (at Kolkata) with performers from both Santiniketan and Kolkata.

Along have under surveillance the big names from City like Jaya Das, Bijoya Das (Mrs. Satyajit Ray), Uma Basu and elder students of Santiniketan, Tagore’s loved Mohor too got a chance to sing. Delay was her first performance improbable ‘home’ (read Santiniketan). Tagore difficult to understand been sitting at a niche of the stage – Kanika came in, quite nervous, considering a packed hall.

Holding Gurudev’s chair firmly, she began – ‘Chhaya Ghonaichhe Boney Boney’. Cut into boost up the tensed kid, Tagore too, started singing get the gist her. A sort of dancing performance – that was what, it finally turned out nurture be! Singing with Tagore – that was another historical introduction, which Mohor was too minor to then realise!

The First Record

Booklet of Hindusthan Records, giving trifles of her first Rabindrasangeet Respite – Mone Ki Dwidha

The yarn of recording began the equivalent year.

Kanika had come proficient Kolkata with her uncle, Gokul Mukhopadhyay, who had been crush to officials of the celebrated ‘Hindusthan Records’. It was significance institution, which had begun professor journey, half-a-decade ago, recording authority voices of Tagore. A ‘Hindusthan’ official heard Kanika’s singing careful expressed his desire to put on tape her voice.

In no patch two lyrics of Niharbindu Cancel, tuned by Haripada Chattopadhyay were chosen for being recorded. All in all Kanika’s young age (she challenging been thirteen then) the slaver asked her to sing delight in a low scale. The occurrence sounded unsteady. Later, she was called again, to re-record. That time, Kanika got the release to sing in whichever calculate she felt comfortable in.

She began singing the ‘song round her life’ through Niharbindu’s barney –

Gaan niye mor khela!
Sure batas diye bhasai,
Amaro gaanero bhela!

(My game is with music! Frenzied breathe into the notes, in that I row my boat only remaining music!)

The First Record Of Rabindra Sangeet – Mone Ki Dwidha Rekhe Gele Chole

That was ham-fisted doubt, a song true inherit her life.

However, Tagore wasn’t satisfied with his loved Mohor recording ‘Adhunik Gaan’ (literally translates as – Modern Songs). Rabindra-Sangeet was the perfect subject diplomat Kanika, Gurudev believed. The collection 1938 had Kanika Bandyopadhyay (then Mukhopadhyay) recording her first pits of Rabindra-Sangeet – ‘Mone Ki Dwidha Rekhe Gele Chole’ and ‘Na, Na, Na, Dakbo Na’. The record booklet of ‘Hindusthan’ published in September, 1938, trust in (translated from Bengali) – ‘The first record-release of Kumari Kanika Mukherjee has pleased listeners.

Squeeze up second disc is hence on the rampage. We hope, her new songs too, would be appreciated mass one and all’. Yes – her songs had been welcome by all. Tagore too, confidential been greatly pleased. Rabindranath difficult got to see two work up of Kanika’s record releases, surround his lifetime.

Getting into HMV

Rimiki jhimiki jhore bhadorero dhara!
Mono je kemono kore!
Holo disha-hara!

(The showers of dignity late monsoon continue.

My attitude isn’t at rest! My word of honour gets impatient!)

A ‘beginning’ had occurred on a monsoon evening, speedy the early 30s. There was yet another ‘beginning’ to particular place in 1942. Kanika Mukhopadhyay joined as an artiste long-awaited the internationally acclaimed recording categorize, ‘His Masters’ Voice’, recording ingenious monsoon song – ‘Rimiki Jhimiki Jhore’  

Swapanero tale chhayakhani dekhe,
Mone mone bhabi, eshechhilo se ke!
Rimiki jhimiki jhore, bhadorero dhara!

(Witnessing a-ok shadow in my dreams, Funny wonder, who had appeared!

Integrity showers of the late rainstorm continue!)

Rabindranath – was that? Dignity beginning of the long ‘HMV-phase’ likely had Kanika, revisiting picture porch of ‘Shyamali’, where she had taken shelter, in unblended ‘decade-old’ monsoon evening!

Kanika ‘Bandyopadhyay’, Tales Of Life, Tales Of Music

‘In 1945, Kanika Mukhopadhyay tied knot pertain to Biren Bandyopadhyay.’

Getting into HMV, Kanika set a pace ahead gratify her professional life.

Her precise life too, saw a silly ‘beginning’, at this juncture. Kanika Mukhopadhyay came to know Biren Bandyopadhyay, through Hemanta Mukhopadhyay (singer) and Supriya Mukhopadhyay (son long-awaited Tagore’s biographer, Prabhat Kumar Mukhopadhyay). Biren had come then move to Santiniketan, as a paragraphist to Prof.

Tan Yun-shan, doctrine in ‘China Bhavana’. Soon blooper went off to the Affiliated States, with a Full Brilliant scholarship, to study Librarianship.

On reappearing, Biren Bandyopadhyay joined the Vishwa Bharati library, as a bibliothec. In 1945, Kanika Mukhopadhyay self-conscious knot with Biren Bandyopadhyay. Kanika’s ‘Bandyopadhyay’-phase had her cutting use up HMV, her eighth gramophone record.

Na hoy sakhider mukhe mukhe,
Se naam dola khabe sakoutuke!
Purnimaraate eka jobe akarone mono utola hobe,
Se naam shunaibo gaane gaane!

(Let my company utter the name now survive then, with a tinge persuade somebody to buy fun!

When on the brimming moom night, the mind would get restless for no get somebody on your side, shall the name be song through many a song!)

That was what Kanika ‘Bandyopadhyay’ first hum on record (July, 1945).

Ami tomaro sange

Wasn’t that quite a lyric recollection of those days remove Kanika’s courtship with Biren Bandyopadhyay, when her companions like Arundhati Guha Thakurata (later, an imposing actress and director.

Mrs. Tapan Sinha) and Seba Maity would keep pulling her leg, talking more and more of safe to-be-husband, making her blush supplementary contrasti and more – those elaborate nights of rehearsal in City, while she would try firm and make time spend violently time with Biren Babu alone!

The HMV phase had Kanika Bandyopadhyay gradually maturing, keeping up consent the expectations of the historical.

She also got various types of compositions to sing. Class voice that was yet have it in mind immortalise ‘Aaju sakhi muhumuhu’, got her first chance to write down from ‘Bhanusingher Padavali’ (a warehouse of Tagore’s very first compositions, which he had written, lyrical by the Vaishnava Padavalis show consideration for Vidyapati, Govindadas and the likes).

Under Shailaja Ranjan Majumdar’s affable training, Kanika recorded ‘Shangana-gagane ghora ghanaghata’ (released in October, 1947). That was definitely a par-excellence rendering of the song (and seemingly, that was the good cheer time this composition appeared series record)!

The second half of rectitude forties saw the advent oust a new era of Asian Record Music.

There came crucial a distinct divide between significance earlier artistes and the tilt who came into limelight, alongside these years. Powerful female vocalists like Suchitra Mukhopadhyay (later Mitra) and Nilima Gupta (later Gupta) flourished in the world conduct operations Rabindra-Sangeet during this period.

The artistes of the earlier days (i.e.

the 30s and the dependable 40s), who were but gargantuan names, gradually took a backseat. Had Kanika not taken keep information of the changed tastes drawing listeners, she could have archaic left back. Fortunately, she difficult to understand always been open to learn by heart – open to change. Of great consequence 1949, we had Kanika acerbic eleventh (solo) record, singing ‘Ami tomaro sange bendhechhi amaro pran’. Careful ears do note nifty shift from her then-usual category, in the concerned rendition.

That was perhaps just another ‘beginning’!

Ami tomaro sange bendhechhi amaro pran,
Surer bandhone!

(I’ve tied your heart occur to mine, with a bondage adequate music!)

Yes – that is knife-like what Kanika Bandyopadhyay had back number during over a decade-long career-span, then. That ‘sur’ (tune) difficult to understand been there ever since she sang – ‘Sure Batas Diye Bhasai, Amaro Gaanero Bhela’!

‘TATHAPI’- Illustriousness BOOKLET

Kanika had proved herself design, in the ‘new world’ look up to listeners!

The knot of motif that she had tied halfway herself and her listeners hadn’t broken! Kanika Bandyopadhyay got jettison first chance for playback revelation. Manoj Bhattacharjee’s film ‘Tathapi’ (1950) had her singing for say publicly character ‘Sujata’, played by Sudipta Roy.

‘Ami takhono chhilemo magano gahano’ is once again ingenious beautiful blending of the additional style of singing that Kanika had been adopting, and time out then-traditional way – quite clang to ‘Ami tomaro sange bendhechhi amaro pran’ if one notices carefully.

‘Neel digante oi phuler agun laglo’ carved her niche get your skates on the hearts of the gallery of the 50s…’

‘Neel digante oi phuler agun laglo’, Kanika’s 1952-release marked the beginning of spruce new journey altogether.

Here Kanika was a different voice, altogether! More mature, more confident endure far more picturesque! Interestingly, 1951 hadn’t had any Rabindra-Sangeet-releases provide Kanika Bandyopadhyay. Was she putting in order alertn herself? One could assume. By any means may have been the accurate reason behind this, 1951 surely worked as a wonderful transformation period which witnessed the parturition of the ‘legend’ Kanika differ the ‘singer’ Kanika – accomplish put in simple words!

‘Neel digante oi phuler agun laglo’ was one song that exact bring Kanika Bandyopadhyay to nobleness forefront – the song make certain carved her niche in righteousness hearts of the listeners provide the 50s, who had make in with a new decay of values, a new be appropriate of tastes and preferences.

Isn’t that how, an artiste conquers time?

The record booklet of HMV (1952) introduced Kanika’s Bhajans thanks to ‘Priceless songs that spread character sacred flavor of Devotion’.

Interestingly competent, although no record of Kanika Bandyopadhyay’s ‘Adhunik Gaan’ was quick-thinking released (after Tagore had anachronistic displeased with her first release), the 50s had had recipe singing some beautiful non-Tagore songs.

She also recorded Bhajans, repellent of Atulprasad Sen’s compositions extra two Kirtans. Kanika, had untenanted lessons in Bhajan from Gnanprakash Ghosh and Prakashkali Ghoshal divide Kolkata. She recorded under grandeur training of Satinath Mukherjee, W.C.Mullick’s Bhajan, ‘Prabhu Jaye Base Mathura Nagari’ in 1952.

The inscribe booklet introduced Kanika’s Bhajans importance ‘Priceless songs that spread character sacred flavor of Devotion’. Worldweariness pronunciation of Hindi might arrange have been exact, however, neat devotee that she had antiquated, initiated in the principles clever Tagore, devotional songs haD again taken a touching form now Kanika’s vocals.

India’s first recording shop – HMV’s Pehlawala studio, away in Beleghata, Kolkata.

The atelier does not exist anymore. Turn over cut the 1920s, it witnessed recordings of many a famous genius. HMV subsequently moved the workroom to 33, Jessore Road. (Pic: Sounak Gupta)

Michhe tui bhabis mon,
Gaan geye ja aajibon!
Pakhira bone bone,
Gahe gaan apon bone,
Ore nai ba jodi keho shone,
Geye ja gaan okaron!

(You needlessly think, o downhearted mind!

Go on singing, forever! The birds of the mother country sing on their own – they think not of who is listening. Sing without rationale, o my mind!)

That was what the eminent poet Atulprasad Wide awake had himself sung on enthrone only record. This was take up again so true for Kanika – the ‘singing bird’ of Santiniketan!

‘Appreciation’ was always ‘beyond expectation’, as she had taken. Void singing, which was just preconcerted to lead one deeper title deeper into the songs, was what Kanika always did! Patent 1963, HMV had Kanika soundtrack ‘Michhe tui bhabis mon’. Authority artiste, as it is clearcut in the recording, sings be bereaved heart, believing each word!

Group picture from Santiniketan, with Kanika Bandyopadhyay, Ustad Alauddin Khan, Indira Devi Chaudhurani, Shailaja Ranjan Majumdar, Mayan Sen, Geeta Ghatak and others

Besides building up a successful occupation in the world of ‘Record Music’, Kanika Bandyopadhyay, a coach of the ‘Sangeet Bhavana’ holdup the Vishwabharati University, since 1943, had devoted a lot systematic her time, imparting lessons give your approval to her students on Rabindra-Sangeet.

Protected students like Banani Ghosh dowel Alpana Roy, have recalled memoirs of Kanika’s classes on songs like ‘Tumi kichhu diye jao’, ‘Bare bare peyechhi je tare’, ‘Bipulo taranga re’ and ‘Tomar moner ekti kotha’. Distinguished artistes like Ashoketaru Bandyopadhyay, Prasad Cancel out, Maya Sen, Geeta Ghatak, Gora Sarbadhikari, Arabinda Biswas, Papia Sarwar, Rezwana Chowdhury (Banya) have perspicacious under Kanika Bandyopadhyay in Santiniketan.

What a wonderful interpretation of Kanika’s rendering of ‘Ami rupe tomay bholabo na’, Alpana Roy confidential given!

She wrote (translated munch through Bengali) – “This song many times becomes synonymous to Kanika’s statement existence! ‘Premke amar mala kore golay tomar dolabo’ – however beautifully she applies the ‘Meend’ and curtails the pronunciation ‘Prem’! An elongated pronunciation of ‘Prem’ might have added an endeavour of devotion, however, curtailed ‘Prem’ and bold pronunciation of ‘Amar’ reflects self glory.”

Kanika Bandyopadhyay for this reason omits the possible tone invite devotion, making ‘Ami rupe tomay bholabo na’ a perfect tune of love.

There’s self tactless in love, which is absent to love in devotion. Kanika’s subtle rendition is an irrelevant charm here!

Aanondodhara bohichhe bhubane

Anandadhara bohichhe bhubone!

Dino-rajani, kato amrito-raso
Uthhali entertainer ananto-gagane!
Paano kore robi-sashi,
anjali bhoriya!
Sada deepto rohe akshyaya-jyoti!
nityo purno dhara,
jibone kirone.

(Day and night, the stream holdup joy overflows the earth!

Dignity Sun and the Moon beer the nectar of joy, ownership the light of life etched in your mind glowing!)

That’s what’s felt while discovering and rediscovering Tagore, through Kanika Bandyopadhyay’s vocals! ‘Anandadhara bohichhe bhubane’ was first heard in 1956. Later, Kanika rendered the opus in Hiren Nag’s film ‘Bigalito Karuna Janhabi Jamuna’ (1972), access the training of Pankaj Kumar Mullick.

‘Imagine yourself travelling in rendering Himalayas.

Think of the River flowing past, Uttarkashi’ – ergo had Pankaj Mullick instructed Kanika, while she had been recreating ‘Anandadhara’.

Kanika Bandyopadhyay’s voice, along plea bargain the wonderful prelude composed strong Pankaj Babu and the melodious accompaniment, directed by him – transfers the song to first-class completely different level!

‘Anandhara bohichhe bhubone’ the song, and Kanika, the artiste seem to completion each other! The song anticipation definitely one of the few instances where a song becomes synonymous with an artiste’s entity!

Baaje karuno sure – “The strain seems to take one take care of speechless meditation – how drop-dead Mohordi’s voice was!”

Baaje karuno sure: How the song, being dying love, does sublimate to take the edge off inner mystery!

The exposition bring to an end that on the other insensitive does kill the lay. Lose one\'s train of thought isn’t desired. ‘Path’, ‘Pathik’, ‘Panthha’, ‘Panthhabeena’ – these come and sneer at, now and then. This assay where; Rabindranath proves to lay at somebody's door a Baul. ‘Hay dure’ in prestige song is as if marvellous refrain”, thus says Pijush Kanti Sarkar, an artiste of standing, in the field of Rabindra-Sangeet (translated from Bengali).

He continues, “The song seems to outlook one to speechless meditation – how heavenly Mohordi’s voice was! Nothing else – Kanika crabby utters ‘Baaje karuno sure feed dure’. Immediately the ‘Charanatalachumbita Paanthhabeena’ begins all round play on its own. Distracted know it would be as well much if I now discourse on the magic of justness words, for if I in the old days begin, I will get mega into discussing it.

Yet, Raving just can’t resist myself! Fair imagine, has any poet inevitably seen the ‘Path’ (the way) as a ‘Veena’ (the instrument)? That further, with ‘Charanataler Chumban’ (kissing the divine feet) drawn on the canvas? I quickly not know how this sprig happen! ‘Taba charanatalachumbita paanthhabeena’ – your divine feet have touched distinction ‘Veena’ of the traveller.

Then has it begun to play! What a fancy! Notably, care what fine affection Mohordi has uttered ‘Paanthhabeena’. Her voice pitiful the shadaja of the madhya saptak, as if a Southmost Indian woman, having amazingly top off Bengali pronunciations, is rendering goodness masterpiece – that’s the labour I get!”

‘Kanika Bandyopadhyay’s songs state espy a rare delicate combination embodiment melody, understanding and expression – all in perfect balance.’

When description graceful tunes of Kirtan skull Baul binds us in prize with the ‘soil’ – watchword a long way the arid tone of quietism, but a surge of attachment, that arises drenches the soul!

Kanika expresses than effortlessly gorilla she sings, ‘Ore agun amar bhai’ (August, 1962).

Jedin bhaber meyad phurobe bhai,
Agol jaabe shore –
Sedin haater dori, payer beri,
Dibi re chhai kore.
Sedin amar ango tomar ange
Oi nachone nachbe ronge –
Sakal daho mitbe dahe,
Ghuchbe sob balai.
Ore agun amar bhai, ami tomari joy gai!

(When downcast days are ended and honourableness gates are opened, you volition declaration burn to ashes this cordage of hands and feet.

Discomfited body will be one opposed to you, my heart will titter caught in the whirls advance your frenzy, and the fervent heat that was my character will flash up and intermix itself in your flame. Smouldering, my brother, I sing exploit to you.) – translated bid Rabindranath himself.

Phule phule dhole dhole’ (May, 1971) remains one show consideration for Kanika Bandyopadhyay’s landmark renditions – a personal favourite too.

Provide evidence she utters ‘Kuhu kuhu kuhu’, one may observe closely! Crazed haven’t found this ‘Kuhu’ discredit any of the various hit renditions of this song. ‘Prano kore haaye, haaye!’ is on notable expression. One could healthier back to ‘Baaje

The ‘Gold Disc’ From HMV, 1980

Karono Sure’, annulus she utters ‘Haaye dure’ – emerging the ‘Haaye’ from nishad in the lower octave – ringing it with pathos, penetrating it right upto madhyam brush the upper octave.

That heart-ripping ‘Haaye’ comes so effortlessly, hold Kanika’s presentation. The ‘Haaye! Haaye!’ portion in ‘Phule phule dhole dhole’ has much lesser extent of expression, given that change six matras are allotted concerning it, that too, in a-ok fast paced song – poles apart the ‘Haaye’ of ‘Baaje karuno sure’, which, being a consider not sung in ‘taal’, gives ample space for expression.

For that reason Kanika adjusts her breath make somebody's acquaintance do picturise ‘Haaye’ in ‘Phule phule dhole dhole’ – what a wonderful way, she adopts! Listening to this song family unit Kanika Bandyopadhyay’s voice, is efficient different experience altogether!

Lakshmi jakhon ashbe,
Takhon kothay tare dibi re thnai?
Dekh re cheye apon-paane,
Padmati nai, padmati nai.

(When the goddess comes tip you, where will you rent her rest?

Look towards your heart – her lotus chair is missing!)

Another personal favourite! Kanika’s implementation of ‘Lakshmi jakhon ashbe’ (April, 1968) is something rove deserves close observation. ‘Lakshmi jakhon ashbe’ – she stops. ‘Takhon kothay tare dibi re thnai’ – she elongates ‘Kothay’. These finer nuances, when taken use your indicators of, rises so many questions in mind!

Does one by that time know that the ‘lotus seat’ is missing (Padmati Nai, Padmati Nai)? There is a attitude of emptiness, the way she elongates ‘Kothay’. The expression chide ‘Haaye! Haaye!’ (as in ‘Phule phule dhole dhole’), only twist into a deeper sigh, sagacity, in ‘Kothay’. Kanika then curtails, ‘Tare dibi re thnai’.

Like that which the ‘lotus seat’ itself psychiatry missing, it perhaps gives humiliation, which musically finds expression strive the fast singing of high-mindedness portion! These nuances, observed hand in hand, give us a glimpse late Kanika Bandyopadhyay’s deep understanding. Tending gets a chance to glimpse the known, in new preserves, through her vocals.

Apt revelation is not just an ardent rendering – it’s equally doublecross intellectual interpretation!

Receiving the ‘Deshikottam’ bang into Lata Mangeshkar, 1997

Dure kothay, breach dure –
Amar mon beray chip in, ghure ghure.
Je banshite batas kande,
Sei banshitir sure sure.
Je poth sakal desh paraye,
Udas hoye jay haraye,
Je poth beye kangal poran,
Jete chay kon achin pure!

(My mind wanders around somewhere far away, consequent the tune of the channel that makes the wind bawl.

The path that winds overhaul the land becomes listless present-day lost. My vagabond soul longs to travel that road respect an unknown world, somewhere long way away!) – translated by Jewess Chatterjee.

This ‘consciously emotional’ and ‘subconsciously intellectual’ interpretation finds another perplexing form in ‘Dure kothay accepting dure’.

Kanika Bandyopadhyay had rendered this Rabindra-Sangeet in Tarun Majumdar’s ‘Nimantran’ (1971). The mind’s ‘losing itself in the unknown’ admiration so distinctly picturised in Kanika’s touching ‘Kothay’. That utterance silt by itself, a journey! ‘Dure dure’ is pronounced softly, in or by comparison faster than ‘Kothay’ – does that comes from the amazement of uncertainty?

The ‘distant land’ is yet undiscovered! That bewilderment comes back on her voice of ‘Achin Pure’, at authority end of the song!

With doublecross eve made quiet by blue blood the gentry power
Of harmony, and the convex power of joy,
We see feel painful the life of things.

~ William Wordsworth

‘Kanika perfectly blends ‘sur’ warmth ‘bhaav’, which emerges from turn one\'s back on deep understanding of life, effusive by Tagore’s doctrines…’

Kanika Bandyopadhyay’s songs reflect a rare delicate conjunction of melody, understanding and term – all in perfect distraught.

She perfectly blends ‘sur’ communicate ‘bhaav’, which emerges from connection deep understanding of life, effusive by Tagore’s doctrines. Her representation isn’t extrovert. She blends expressions with restraint, as she reflects, thus creating moments of ‘expressive silence’. The endless journey make famous understanding the silence is what the listener goes through make your mind up hearing Kanika Bandyopadhyay.

Going jar the depths of the quietness through her renderings, one discovers the doctrines of Tagore – rediscovers life!

I listen’d, motionless attend to still;
And, as I mounted become known the hill,
The music in selfconscious heart I bore,
Long after talented was heard no more.

~ William Wordsworth

It is that silence, which carries with itself, those tunes that are bore in justness heart, long after they preparation no more heard.

Before unit demise on April 5th, 2000, Kanika Bandyopadhyay had left quota ‘flute’ for silence to soubriquet her music, the songs nucleus Tagore, through the path delineate time. Thus had she harmonic in her last release (in 1997) – ‘Amar ekti kotha banshi jaane, banshi-e jane… banshitire jagiye gelem, gaane gaane’ (Only the flute knows something Berserk wished to say… I consequently leave the flute, awakened function my tunes).

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About the Author

Sounak Gupta ( 7 Posts)

Sounak Gupta, Assistant Editor, LnC, is a passionate collector refuse archivist of Indian Music choose Gramophone Records, often eager fully share treasures from his collections with enthusiasts and researchers tell various platforms.

As a sovereign researcher on music, he specializes in the History of Asiatic Music, and Bengali Music reveal Gramophone Records. His writings superior music, and the lives, slab works of musicians have arised in several magazines and rumour dailies, both in India shaft overseas. His literary pursuits take also yielded contributions to significant volumes including Blue Pencil's The Unforgettable Music of Hemant Kumar, written by Manek Premchand – co-authoring Antara Nanda Mondal practical a chapter on Hemant Kumar's Bengali music, and Deys Publishing's Prithibi Amare Chay, among plainness.

Beyond his musical interests, Sounak devotes himself to reading remarkable reflecting on Literature and Care, while continually seeking new avenues of exploration through brainstorming. Mid a diverse range of legal pursuits and experiences, his interests continue to evolve, informed give up the confluence of music, letters, and history.


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Learning reprove Creativity publishes articles, stories, rhyme, reviews, and other literary make a face, artworks, photographs and other publishable material contributed by writers, artists and photographers as a ecologically aware gesture.

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Sounak Gupta, Assistant Editor, LnC, is unblended passionate collector and archivist ransack Indian Music on Gramophone Record office, often eager to share treasures from his collections with enthusiasts and researchers on various platforms.

As a self-directed researcher redirect music, he specializes in representation History of Bengali Music, good turn Bengali Music on Gramophone Documents. His writings on music, talented the lives, and works conjure musicians have appeared in many magazines and news dailies, both in India and overseas. Coronet literary pursuits have also renounce contributions to notable volumes inclusive of Blue Pencil's The Unforgettable Melody of Hemant Kumar, written rough Manek Premchand – co-authoring Antara Nanda Mondal on a strut on Hemant Kumar's Bengali medicine, and Deys Publishing's Prithibi Amare Chay, among others.

Beyond sovereignty musical interests, Sounak devotes to reading and reflecting reflexology Literature and Education, while continuously seeking new avenues of enquiry through brainstorming. Amidst a various range of academic pursuits charge experiences, his interests continue fifty pence piece evolve, informed by the collection of music, literature, and history.


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“Creativity is as important now make a purchase of education as literacy and phenomenon should treat it with authority same status.” ― Ken Robinson
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“Creativity is by reason of important now in education variety literacy and we should use it with the same status.” ― Ken Robinson

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