Concern prevails: Kabir Suman at the Bangla Sangeet Mela (Picture by Sanat K. Sinha)

All the colours of contemporary Bengali music were displayed in full measure at the Bangla Sangeet Mela (BSM) (April 15?22). Hosted by the department of information and culture, state government, the ninth edition of this annual meet may have shut the door on artistes from Bangladesh, but opened one for those from Tripura. As for representing the richness of Bengali songs, this year?s show, in spite of a change-in-guard, disappointed. Only the popular varieties were showcased. Many established genres were conspicuous by their absence from the Rabindra Sadan stage. The 19th century, redolent with devotionals and semi-classical forms, was also not represented at all.

Tagore enjoyed his share of attention but his not-so-popular contemporaries were axed altogether. In order to please a predominantly urban audience the organisers continued to accommodate the professionals, who belted out what may be called ?bastardised folk songs?, in lieu of the indigenous music-makers. Songs from the proscenium theatre were heard, not the popular jatra ones.

The conference underlined the changing profile of audience taste as well as artistes? preference. The de-canonisation of Nazrulgeeti is a classic case-study. The seniors, including Indrani Sen, had their hearts in their mouths before giving their recitals, apprehending a rejection from the audience. Lyrical clich?s notwithstanding, Nazrul?s adaptations of thumri and khayal offer immense room for playful improvisations, which the other established forms forbid. Yet, barring the not-too-young Susmita Goswami, who gave a thoroughly enjoyable rendition of Piya piya piya papia pukare, Nazrulgeeti had few takers among the younger lot. The bard?s prot?g? Sailen Roy, the lyricist, was remembered on his centenary by Anasuya Mukhopadhyay. Her bouquet included Bansharir buke sur achhe tai, set to tune by Kamal Dasgupta for the AIR?s Ramyageeti session that Manabendra Mukhopadhyay rendered.

The post-Nazrul varieties of the Bangla Adhunik Gaan had predictable share. Banashri Sengupta has retained her silken touch. A sequel to her Seventies? hit Aj bikeler dake was interesting listening. The lukewarm reception to Pintu Bhattacharya raised a few eyebrows. But once he whispered Shesh dekha sei rate, and received the applause that followed, the doubts about audiences? taste were laid to rest. Kabir Suman?s recital was one of the high notes of the conference. Beginning with a tribute to V. Balsara, he switched over to contemporary state politics, complicated by the return of radical Leftist insurgencies.

Some of the younger-generation singers, composers and performers, including the Bangla Band ensembles, are immensely talented. Yet, barring a few efforts to assimilate the intoxicating jhumur rhythms and attempts at robbing bhatiali of its rustic flavour, the latest in popular music borrows relentlessly from pop and rock and the Bollywood trends. High on adrenaline, some of these numbers have created ripples. Singers like Lopamudra Mitra, Rupankar, Anasuya Chowdhury, Raghab Chattopadhyay, Manomay Bhattacharya and even veteran Arundhati Home Chowdhury are commanding adoration ? definitely an encouraging sign. Will these numbers, musically almost alien to our soil, settle down into our collective unconscious? This is anybody?s guess.