Mahalaya 2022: The Three Brains Behind The Legendary Mahishasuramardini Composition
It has been more than 90 years since music enthusiasts were introduced to the traditional Mahishasurmardini recital being played at the crack of dawn every Mahalaya.
Durga Puja is much more than just a festival. It represents a spirit of unity that transcends barriers of caste, creed, and religion and unites people in a way that a mother would, to celebrate life and birth. And what can be a greater indication of an epic celebration than when an entire town wakes up at the crack of dawn to welcome Goddess Durga home.
It has been more than 90 years since music enthusiasts were introduced to the traditional Mahishasurmardini recital played early morning every Mahalaya. Bengalis all over the world have all these years listened to the enduring songs on Mahalaya, the day that marks the conclusion of Pitri Paksha. Devi Paksha begins the next day, but for the Bengalis worldwide, it's the Mahishasurmardini recital on Mahalaya that heralds the beginning of the annual 10-day Durga Puja festival. The 90-minute musical spectacle, which was originally written for radio in 1931, is a harmonious mingling of hymns, narration, and devotional songs chronicling the creation of Goddess Durga to vanquish the demon Mahishasur.
The Three Minds Behind The Creation Of Mahishasuramarddini
Birendra Krishna Bhadra
If Mahalaya is associated with listening to the Mahishasuramardini composition, the rendition is connected to a single name — Birendra Krishna Bhadra.
Born on August 4, 1905, Bhadra carved a permanent place in the hearts of millions of Bengalis who will do anything to hear the Chandipath and recital of Durga's creation to eliminate the evil buffalo monster, Mahishasura.
All India Radio had once tried to replace Birendra Krishna Bhadra with another narrator in 1976. The replacement was none other than the hugely popular and loved actor and singer Uttam Kumar. But the audience who were accustomed to hearing the Durga stotras in Bhadra's deep baritone simply rejected the 'Mahanayak' in that role. Neither Uttam Kumar, nor the show renamed as Durga Durgatiharini, received any love from the audience. Bhadra had to be brought back, and the focus returned to the original version of the composition.
Bhadra is known to be a model of simplicity. The inclusion of Bhadra in the performance of Mahishasuramardini drew criticism from some quarters who had objected to a "non-Brahmin" reciting Durga stotras. Their reservations, however, were overcome by his popularity among the people and their unwavering affection for him.
Pankaj Mullick
Mahishasuramardini was composed by the legendary music director, Pankaj Mullick.
Mullick, a famous name in the world of music, was once the only artiste other than Rabindranath Tagore himself who was allowed to set the poet's works to music. Mullick led an elite group of singers and musicians to create the masterpiece known as Mahishasuramardini that we get to listed to every Mahalaya.
Mullick and Birendra Krishna Bhadra were colleagues at AIR. Mullick was a famous figure on radio and commanded the AIR from 1927 to 1975.
It was said that as a music director Pankaj Mullick was a man of discipline. The Mahishasuramarddini performance was topmost on his priority list and he ensured that all the artistes practised it together for a full month before the live show, without even a day's break. He is said to have left his favourite performer, Hemanta Mukhopadhyay (Hemant Kumar), out of the masterwork because the singer was too busy to come for the rehearsals.
And the final result demonstrates all the efforts and the discipline. Mahishasuramarddini has successfully topped the charts despite being subjected to a wide range of modern influences.
Bani Kumar
The breathtaking narration of Mahishasuramardini was scripted by Bani Kumar.
Baidyanath Bhattacharya, who was born on November 23, 1907, came to be known as Bani Kumar. He had joined AIR at the age of 23 after graduating from Kolkata's prestigious Presidency College. He was only 25 years old when he authored the Mahishasuramardini narrative, creating a stir in the industry, which garnered him a reputation. As the programme executive, it was said, he was especially concerned with the performers' Sanskrit diction.
Mahishasuramardini, which has evolved from an audio-drama to a form of ritual, continues to remain a vital part of Bengali culture, serving as a gentle reminder that Durga Puja is more than just a spiritual holiday.
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