Kazi Nazrul Islam's characteristic diversity set him apart from his contemporaries. His songs epitomise that multifaceted trait. Nazrul fortified the bond between Indian classical music and Bangla songs - incorporating 'Dhrupad,' adopting 'Khayal' and at times pursuing the techniques of 'Tappa' and 'Thumri' in his compositions. Nazrul even concentrated on reintroducing obsolete or on the verge of becoming obsolete 'Raagas.' In the process he created some original 'Raagas.'
Chhayanaut's musical programme at the Shawkat Osman Auditorium of the Central Public Library on May 28 highlighted five sub-genres of Nazrul Sangeet - Dhrupad, Khayal, Tappa, Thumri and Ghazal. The occasion was Nazrul's 109th birth anniversary.
Students and teachers led by Khairul Anam Shakil, General Secretary of Chhayanaut, began with a chorus of 'Desh gauda bijoy debraj' - composed in the 'Dhrupad' format.
Dhrupad is considered the oldest form of Indian classical music. It is a poetic form incorporated into an extended presentation style marked by precise and orderly elaboration of a Raaga.
Another choral rendition, 'Srijon chhondey anandey,' was accompanied with dance - perhaps to accentuate the song's impression. The dancer demonstrated her 'Mudras' as the singers rendered 'Naachey nataraajt'
Next were Nazrul's 'Khayals.' Nazrul introduced two trends with his Bangla khayals: 'Hindustani Khayal Bhanga Gaan,' which basically adopted familiar Hindustani tunes; and original tunes that follow the 'Khayal' format.
'Megh medur boroshaye' and 'Riniki jhiniki jhini' - that belong to the former category - were performed by Chhayanat artistes. Excerpts from the original 'Khayals' were performed in between the songs by Khairul Anam Shakil. Dancer Sharmila Banerjee performed with 'Riniki jhiniki jhini.'
Mita and Shirley rendered 'Rohi rohi keno shey mukh' (based on 'Raaga Narayani) and 'Hey priyo amarey debo na bhulitey' (Raaga Patadeep) -respectively.
In the '40s, Nazrul created some original 'Raagas.' A unique feature of the compositions was the mention of their names in the lyrics. Bijon Chandra Mistry and Runa performed two of these songs - 'Benuka okey bajaye' (Raaga Benuka) and 'Hashey akashey shuktaara' (Raaga Arunranjani) respectively.
Nazrul experimented with South Indian classical music as well. Quite a few of his songs are based on 'Dakshini raagas,' like 'Madhumadhobi Sarong' (known as 'Madhyamaadi' or 'Madhumaad' in South India). Two songs of this subgenre - 'Chaitaali chaandini raatey' and 'Neelambari sari porey' - were rendered by Rezaul and Sumon respectively.
Nazrul was perhaps the last 'Tappakaar' in Bengal. Keeping the essence of the style intact, Nazrul composed several 'Tappas.' One of them, 'Jaha kichhu momo achhey priyotomo,' was performed with precision by Munni.
Performances of Nazrul's 'Thumris' were next. Dhrubo and Sarah rendered 'Swaponey esho nirojoney' and 'Poraan priyo keno eley obelaye' respectively.
'Ghazal,' originated in Persia, had its wide introduction in Bengal through Nazrul. Inspired by Omar Khayyam, Hafiz and Mirza Ghalib, Nazrul composed Bangla 'Ghazals' that attained mass popularity. Three of these -'Boshiya bijoney,' 'Keu bholey na keu bholey' and 'Tora dekhey ja Amina maa-er koley' - were performed.
The programme ended with a rendition of the National Anthem; the audience sang along with the artistes as the curtain came down.
