Behind the relevance of ‘Mahishasuramardini’: A Review

This article was published in the Fourth Digital Edition of Anweshan: Anweshan 2020 - April Edition

The very first aspect of the musical composition is, of course, the unconventional yet extensive use of Raag Malkauns among other ragas. Being a midnight raga, nobody could have thought of using it at ‘Brahmamuhurta.’ As the first sound of the conch shell starts fading away, a short tune is heard in Malkauns, followed by the beginning of the invocation of the Goddess—‘Ya Chandi…….’ It may be noted that from the very beginning and as the program proceeds, there is extensive use of Malkauns. It was the pure genius of Pankaj Kumar Mullick to set the composition in this raga. The reason is that Malkauns is not only a midnight raga but also a meditative one. It has the quality to transcend both the singer (player) and listener to a highly meditative state. This author learned about an incident from a Kriyaban in Shri Bhupendranath Sanyalji’s lineage that can be cited as a good example in this context. A friend of this Kriyaban, an accomplished classical singer, during her daily practicing sessions of Malkauns, used to sometimes see vivid visions of brilliant white light upon closing her eyes. She was not a Kriyaban and was naturally confused while simultaneously joyful at this. This illustrates the raga’s natural potency to elevate one to a sublime level of consciousness.

The Arohana and Avarohana, i.e., the ascending and descending structure of Malkauns, is such that it can describe or bring out the effect of the advent or descent of divine consciousness. This effect is also found to a great extent in Tagore’s ‘Anondodhara Bohiche Bhabane,’ which almost directly describes this feeling. Here, this same effect makes one aware of the descent of Divine consciousness and the advent of the Mother with the beginning of Devi Paksha. This creates the desired effect upon the listeners, as they become ready to immerse themselves in the ocean of divine bliss.

The raga is based on the Bhairavi thaat, so there is a feeling of ‘awakening’ in it. With the listeners just up from their beds and the mood of Nature ready to awaken with the sunrise, the first tune of the radio sends a message for ‘inner awakening’—‘Arise for the Mother’s worship, here she comes!’ A good example of this feeling can be found in Nazrul’s ‘Shoshane Jagiche Shyama.’ As the program continues, Raga Bhairavi is gradually employed to strengthen this effect.

Apart from this, the ragas are used throughout the program in such a way that one can easily relate to Nature’s mood. It is also worth noticing that the very first part of the narration by Birendra Krishna Bhadra begins with a description of Nature and does not include any part of the Chandi shlokas. This makes the listener more aware of Nature and able to relate to the mood of ‘Agomoni.’ To this day, the songs ‘Ya Chandi’ (Malkauns, Jhaptaal), ‘Ogo Amar Agomoni’ (Malkauns, Rupak taal), ‘Singhasta Sashisekhara’ (Bhairavi, Kaharwa), ‘Bajlo Tomar Aalor Benu’ (Bhairavi, Dadra), ‘Jaago Tumi Jaago’ (Bhairavi, Kaharwa), ‘Taba Achintya’ (Bibhas Raag; based on Bhairav thaat, Teental), ‘Akhilo Bimane’ (Desi Todi, Jat taal), etc., stand among some of the best songs based on ‘Agomoni.’

The technique of repetition is also employed here, as many modern composers and music directors do. The continuous use of a tune from the very beginning helps to establish that effect permanently in the mind of the listener. The human mind relates music to a particular thought, and every time the tune is heard, the mind gets instantly captivated by the ideas associated with it. This explains why the radio program has become synonymous with the occasion of ‘Mahalaya.’ This effect is well-known to practitioners of classical music. The ragas are sung or played based on the main/basic structure, with improvisation and other elements added to create variation. However, these are connected with the same tune and thought. It can be seen here that, between songs and the shloka rendition, extensions of each part are done to maintain continuity of thought and tune, and there is no ‘snap’ in the transition. The ascent and descent of notes in the rendition of shlokas by Birendra Krishna Bhadra are done smoothly, creating a wave-like effect.

It was also the exceptional creativity of Shri Baidyanath Bhattacharya, popularly known by his pen name Bani Kumar, to make such a script incorporating shlokas and principal ‘angas’ from the Chandi without making it uninteresting or hard to comprehend for common people. The events are laid out as described in the book, with shlokas used in appropriate places. Since the same tone and scale are maintained for the songs, Sanskrit shlokas, and narration parts, there is an easy flow of thoughts in the listener’s mind.

Additionally, there is the splendid portrayal of the dramatic events described in the Chandi, the two most prominent being the materialization of Devi Durga by the collective energies of the Devas, and, of course, the war between Durga and Mahishasura. In the part describing the war, background effects resemble a storm and disruption amidst the phenomenal recital by Bhadra as Devi slays the demon.

With all these elements in place, it is finally the radically distinctive voice of Shri Birendra Krishna Bhadra, heard since 1931 (recorded in 1966), that has a natural appeal due to his devotion, unparalleled dedication, and unmatched quality. ‘Mahishasuramardini’ remains the oldest broadcast on Indian radio to this day. It remains relevant as one of the most legendary programs in the history of mass communication media. Generations have grown up listening to the tune of this program every year in the pre-dawn hours of Mahalaya, marking the onset of Durga Puja. And generations yet to come shall keep rising every year on this auspicious day of Mahalaya at 4 a.m. to plunge into the divine bliss of joy and devotion.

#Comments

Pinaki Shankar Mukherjee
April 7, 2022, at 7:59 pm
Many thanks for the article, very informative! As a kid growing up listening to “Mahishasuramardini,” I always felt that this radio program was something special. Lately, I’ve realized that it’s more than that; it’s a magnum opus, a work of a lifetime! As far as composition, lyrics, and narration go, the trio almost achieved perfection. Thanks for breaking down the Ragas involved, and you’re absolutely right about that Malkauns-Bhairavi magic, which has stood the test of time and never fails to deliver that transcending, out-of-body effect!
On a side note, I didn’t know “Taba Achintya” was based on Raga Bibhas, always thought it’d be Raga Puriya. Now I know!

Surajit
August 24, 2022, at 7:13 am
Need the rest of all songs of Mahalaya’s Raga and Taal details.
Thank you.

Avishek Biswas
February 14, 2023, at 8:47 am
It’s terrific and full of knowledge about Indian classical music. I want to know more about the genre. Please continue writing such amazing and informative articles.