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A Nazrul Concert with a Difference

by Waheedul Haque
CHHAYANAUT is almost universally famed in the country and even across the border in Calcutta as the mother protector of Tagore song and the guardian angel of culture and good taste. Such superlative accolades quite fit a thirty year-old organisation that frontally took on Pakistani army dictator* and their depredatory cultural policies — and were vindicated by the outcome of the Liberation War. And their victory in the unequal war was rightly attributed to their wonderful weapon: Tagore song
And yet — wonder of wonders — for more than a two decades Chhayanaut has been churning out more successful Nazrul singers than crooners of Tagore melodies — their hall-mark. A natural corollary to that was that of their numerous stage presentations round the year the soirees devoted to Nazrul Songs turned out more satisfying than their other offerings.
Monday's Chhayanaut presentation on the occasion of the 16th death anniversary of Kazi Nazrul Islam was no exception to that interesting rule. Anyone having even a smattering of subcontinental music knows that white most of Tagore's musical creations lend very eminently to homophonic choral — even polyphonic — performance because of their wonderful use of chords, songs modelled on kheyal and thumri styles are very difficult to perform in chorus. And NazruTs melodic outpourings were mostly in the free and loosely composed styles of kheyal and thumri. It has been a glorious tradition with Chhayanaut to do these songs in chorus. On Monday at the National Museum main auditorium they gave us six such chorus pieces full of verve and musicality. Very enlivening
Indeed. While 'Ruma Jhooma Jhoom baadal nupuf. Doley bane tomaler Jhulanatey' and Meghcro hindoto' were of the more familiar numbers wi(h the usual Nazrul lilt — which la but a very artistic borrowing try the hyper talented Kazi from dehatt light-classical* of the rural regions of Uttar Pradesh and Bihar. But then there were those more serious numbers at which Chhayanaut excels. The opening piece of the concert Baty* mridanf/a of in tear a set the tone of what was to follow The swinging k hey al piege Barosha of elo barosha' was done In the way only possible by a season Chhayanaut team The finale came with Bha honey aaehllo otUhl shudur' was also done exquisitely but it didn't sound quite right for a closing song There was a very nasty production snag in tfye first of the two dance offerings But that was more than made up for it. mostly by H. wonderful costume-colour light combination as also by the perfect rendition in unison with the song it was portraying.
Shuman Choudhury was his masterful reincarnation of Inam Goswami and Khalrul Anam Shakti was forceful and efficient in his favourite piece Nlshat. Shirley. Fancy and Shimu were up with their steady and melodious arjd lively performance* while Faqir Shahilul Islam was par Ocularly good in '^/hor DharaT — and he was quite a surprise for me.
Two things left much room for improvement. Pronunciation. also, of many of the solo performers, was. to say it softly, atrocious. Two — the production suffered from such looseness as to allow a section among the Philistine listeners to go for half-hearted hand clapping, marring very badly wonderful musical ambience. '