To think about the sheer diversity of themes on which programmes of Tagore’s songs are planned today is to give in to amazement. While these mark an increase of scholarly interest in Rabindrasangeet among singers, it is often a relief to listen to a cluster of songs without having to think of an umbrella under which they must be gathered.

The songs presented by the students of Rabichhandam at Sisir Mancha on January 24 were random selections from different sections of the Gitabitan, perhaps keeping in mind the strengths and weaknesses of individual singers. The singers were spirited but with varying levels of accomplishment. As a result, the choral songs, under the helmsmanship of Alak Roychoudhury, were affected, with the exception of Bandh bhenge dao and Hay hay hay. Arup Chakrabarti (Aji nahi nahi nidra ankhipaate), Asmita Sinha (Ei udashi haowar pathe pathe), Titash Chakrabarti (Apni abash holi), and Ashish Sarkar (Ami marer sagar paari debo) gave sincere performances. Swagata Das Bardhan’s Akash amay bhorlo aaloy would have been praiseworthy had she not decided to pronounce jwolash as jwaalash. It would be unfair to compare Rajasri Bhattacharya’s poignantly rendered Manomohano gahano jamini-sheshe and Sandhya holo go, o ma with the rest of the offerings, given that she has been singing professionally for quite a few years now.

The second half of the programme went back to a “theme” — the ways in which the letter and spirit of Tagore’s songs are being trampled upon in the post-copyright era. Alak Roychoudhury’s (picture, left) point about positive Tagorean influences in an earlier age through songs like Ei je hethay kunja-chhayay and Aha ki anando akashe batashe was well taken. But since he was going to come down heavily (with good reason, no doubt) on the liberties taken with Rabindrasangeet over the last decade or so, Roychoudhury should have made sure that the Tagore songs he sang were absolutely faultless. And Asheem dhan to achhe tomar was definitely not.

The evening of Brahmosangeet at the Arabinda Institute on January 30 was miles away from the world of remixed Tagore songs. The sombre, austere quality of Brahmo Samaj celebrations was in evidence, and one could detect points of convergence and divergence of Tagore with the Brahmosangeet composers who preceded him or were his contemporaries. But only a few performances were worth mentioning. Debarati Som was good with Tomari madhur roope. Debashish Ray used his baritone and modulations of his voice to good effect in Dhanyo tumi hey and Mono chalo nijo niketane. Sumita Das’s gayaki was impressive in Ghaate boshe achhi aanmona (Som had already sung this earlier in the programme) and Chirosakha hey. Supriya Chakrabarti gave a slightly matter-of-fact but extremely skilled rendition of Rammohan Roy’s Jare durey jani bhram and Pundarikaksha Mukherjee’s Pranosakha hey amar. Suchhanda Ghosh (picture, right), the last singer of the evening, was also the best. Her akhar-embellished Ami jene-shune tobu bhule achhi and Aha ki koruna tomar were exceptionally good. What was most impressive is that the singer adopted the keertan style but did not overdo the nuances, and thus retained the essence of Brahmosangeet in full measure.