Sounak’s debut album was released on the 2nd of May 2007 in
Crossword bookstore Kolkata. “Kobir Aangone Raager Aalo”, is a first
of its kind in the sense that it is a combined compilation
of both Hindustani Classical music and Rabindrasangeet, both
Sounak’s forte. The album was launched by his Gurus, the Kirana
Gharana maestro – Ustad Mashkoor Ali Khansahab and the famous
Rabindrasangeet exponent- Pramita Mallick. Senior academician and
teacher Subhas Chowdhury graced the occasion as the guest of honour.
The masters showered their blessings on Sounak in front of a packed
audience in Crossword. The opening ceremony was followed by a short
and succinct recital of Raag Desh and Rabindrasangeet based on the
same Raag, by Sounak.
KOBIR AANGONE RAAGER AALO – The Concept
When the idea of launching an album was first suggested, I wondered
if I could juxtapose both my subjects in the same compilation, but
finding out a relevant thread which will effectively and logically
bind the whole theme together was what I was looking for. I did not
want a repetition of the “Bhanga Gaan – Mool Gaan” concept (Original
Oriental or Western melodies which directly inspired Tagore for his
compositions), which has already been attempted by a number of
artists. It was while playing with such musical ideas that the
concept first suggested itself.
Being a student of both Classical music and Rabindrasangeet I have
had the opportunity of looking at both the musical forms from
proximity. Any given Raga manifests itself in totally different
forms when portrayed in Classical music and in a Rabindrasangeet.
Tagore
was always in favour of liberating music from its shackles and
giving it new forms. What made Tagore’s music so different was his
lofty philosophy on one hand and his creative genius on the other,
which was reflected on his ability to assimilate various forms of
Indian and world music and fuse his ideas to create a new genre
altogether different. The various ingredient components underwent a
complex chemical change and retained a just a subliminal flavour of
their own, but they could not be distinguished in their independent
elemental forms. The apparent divorce between the two subjects is
just apparent and it requires rather a catholicity of taste and
education to grasp the common note between the two genres.
Thus was born “Kobir Angone Raager Aalo”, literally meaning a ray of
color (Raga) on Tagore’s courtyard. The album contains six Ragas and
six of Tagore’s compositions based on those same Ragas. The Raga and
the Rabindrasangeet have been placed side by side for the listener
to understand the difference in the two musical idioms. I would just
like to make a special mention of the Raga Bahar and the third song
– “E Ki Koruna”. Bahar is a Raga of the spring in India and is
portrayed as having a very brisk if not frivolous character. But the
respective Tagore song – “E Ki koruna”, is a devotional song which
is rather a restrained and tacit expression of the poet’s awe,
spellbound that he is at God’s bountiful creation. The last one
Bhairavi is my personal favourite though. What critics
say –
“…among the young breed of musicians deftly carrying on the
tradition is Sounak Chattopadhyay, with his collage of classical
bandishes and Tagore’s songs. The song selection is great, not the
mainstream ones, though all demand equal respect. Six Ragas and six
Tagore songs, this album is both for the light listener as well as
the matured music critic.” – The Times of India. Play sample tracks
Album 2: “Bhara Baadore…”
No other season possibly
inspired as much awe in Tagore as did the rains. The rains with its
mystic profundity has been reflected beautifully in his writings –
poems and songs.
His songs on the rains have always remained one of the most popular
themes among singers and audiences alike. After the success of his
debut album, P&M records decided to come up with the second album,
“Bhora Baadore…” a collection of songs and recitations of the Rains;
jointly with the legendary elocutionist Gouri Ghosh. The album was
launched by stalwart Rabindrasangeet Singer Sumitra Sen in Kala Kunj
auditorium – Kolkata.
Sounak along with Gouri Ghosh offers a new experience in “Bhora
Baadore…” too. Combining essences of Raag in a very unique way,
never before attempted in Rabindrasangeet, Sounak uses his voice as
an instrument to orchestrate his own songs. “Aji Srabon Ghono Gohon”,
“Kotha Je Udhao Holo”, “Heriya Shyamolo Ghono” and “Aji Jhorer
Raatey” are songs to watch out for. Play sample tracks
Album 3:
“Nana Surer Aakul Dharaa”
literally means myriad streams of music. Gathani Records
presents this collection of Tagore Songs by Sounak. This album
features mostly some of Tagore’s
all time favourite and popular compositions. The songs include
themes of Love, Seasons, Devotion and Patriotism. Play sample tracks
Album 4:
“Shades of Tranquillity” Sounak’s first exclusive solo Classical Music album.
Published by Bihaan Music, the album features evening and night time
Ragas – Shuddha Kalyan, Bihag and Desh. Accompaniment for Tabla and
Harmonium has been provided by Soumen
Sarkar and Rupashree Bhattacharya. Play sample tracks
Album 5:
“Nuton O
Shonaton Rabinranath”
Sounak’s fifth and possibly most significant album so far was
released by Times Music, India’s premier recording company on May
8th, 2010 at Park Street Music World, Kolkata. The CD was released
by some of the best known and most respected names in the realm of
Bengali culture - Mr.Gautam Mohan Chakraborty – Hon’ble Commissioner
of Police – Kolkata, Dr. Bharati Ray – Vice President ICCR, Shree
Shuvaprasanna – Eminent Artist and Srikanto Acharya - leading
Singer.
In this album Sounak presents 10 songs, five of which are presented
in a traditional manner and
the remaining five have been fused with elements of Indian classical
Ragas. The song selection and sound designing makes this album among
the most versatile and interesting releases of the season. The
songs have been selected from the seasons - Rains and spring,
Vichitra, Puja and Prem chapters of the Geetabitan. If there are
fast and popular numbers like “Aji Dokhino Duar Khola” and “Mor
Bhabonare Ki Haoway Matalo” there are soft lilting melodies like “Ei
Udashi Haowar Pothey”; there is the famous comedy song – “O Bhai
Kanai” and there are elements of Dhrupad, Khayal and Thumri as well.
Two of the classical compositions are Sounak’s own reinterpretations
of Tagore’s music in a Khayal style.
This
is the first time a composition
resembling a typical Khayal bandish but which has a Rabindrasangeet
as its root, has been designed and performed. Sounak seems to be the
person most fit for this research and rendition owing to his long
association and training with Bandish Nawaz Ustad Mashkoor Ali
Khansahab of the Kirana Gharana and his Rabindrasangeet Gurus
Swagatalakshmi Dasgupta and Pramita Mallick, at the same time.
Watch Excerpts of Launch Programme live
here
PRESS REVIEWS:
“It is pouring Rabindrasangeet these days; but unfortunately very few
gifted singers take the trouble to train their voices properly before
plunging in the unfathomable depths of these apparently ‘easy’ sounding
compositions. The classical-trained virtuosity of young Sounak
Chattopadhyay, therefore, comes as a breath of fresh air in this
overcrowded field.” – The Statesman.
“…This is no contemporary experiment in jazzing up Tagore. Classics such
as ‘Ei udashi haowa’, ‘Nil anjana ghana’ and ‘Mone ki dwidha’ are
present with their pristine exuberance. Coalescing into them with their
all-pervasive life force are an original dhrupad by Swami Haridas of
Vrindavan here, a Maharaja kevariya khol in Manjh Khamaj or a Karim
Kartar there. Delectable!
Sounak takes the exercise to dizzy heights when he renders the spring
song, Aji dakhino duar khola, the way Tagore had conceived it, in Raga
Bahar without the Komal Gandhar — and then juxtaposes his own
composition based on the same chalan. As he sings on, it becomes clear
that Tagore had designed a raga of his own, much the way Ustads and
Pandits do today with a lot more fanfare...” – The Times of India.
The album is available for purchase online at Amazon and
iTunes from the links below.
Track 1-3
from Album 1, "Kobir Aangone Raager Aalo”
Track 4-7
from Album 2, “Bhara Baadore”
Track 8-10 from Album 3, “Nana Surer Aakul Dharaa”
Track 11-13 from Album 4, “Shades of Tranquillity”
of both Hindustani Classical music and Rabindrasangeet, both
Sounak’s forte. The album was launched by his Gurus, the Kirana
Gharana maestro – Ustad Mashkoor Ali Khansahab and the famous
Rabindrasangeet exponent- Pramita Mallick. Senior academician and
teacher Subhas Chowdhury graced the occasion as the guest of honour.
Tagore
was always in favour of liberating music from its shackles and
giving it new forms. What made Tagore’s music so different was his
lofty philosophy on one hand and his creative genius on the other,
which was reflected on his ability to assimilate various forms of
Indian and world music and fuse his ideas to create a new genre
altogether different. The various ingredient components underwent a
complex chemical change and retained a just a subliminal flavour of
their own, but they could not be distinguished in their independent
elemental forms. The apparent divorce between the two subjects is
just apparent and it requires rather a catholicity of taste and
education to grasp the common note between the two genres. 
the remaining five have been fused with elements of Indian classical
Ragas. The song selection and sound designing makes this album among
the most versatile and interesting releases of the season. The
songs have been selected from the seasons - Rains and spring,
Vichitra, Puja and Prem chapters of the Geetabitan. If there are
fast and popular numbers like “Aji Dokhino Duar Khola” and “Mor
Bhabonare Ki Haoway Matalo” there are soft lilting melodies like “Ei
Udashi Haowar Pothey”; there is the famous comedy song – “O Bhai
Kanai” and there are elements of Dhrupad, Khayal and Thumri as well.
Two of the classical compositions are Sounak’s own reinterpretations
of Tagore’s music in a Khayal style.
