S.D. Burman (The World of His Music)

A golden voice capable of making one stop in one’s tracks, an uncanny understanding of audience expectation and an astute ability to create something original using various musical techniques and genres-these are some of the characteristics that defined Sachin Dev Burman, lovingly referred to as SD. Ine of the greatest artists to have risen on the Indian musical firmament and captivated the imagination of millions, SD’s musical talent was appreciated by connoisseurs and commoners alike. Combining folk and classical styles, SD gave the world a form of music that could be both the boatman’s and the ustad’s own.

In S.D. Burman: The World of His Music, Khagesh Dev Burman paints a vivid picture of Sachin-Karta’s life, delving into his childhood, things that shaped his character and musical talent, the day of struggle and the rise of the maestro. Complete with detailed lists of his songs and analyses of his unique style and music, this book is one that every music lover’s shelf should boast of.

Khagesh Dev Burman hails from the royal family of Tripura and shares the same heritage as the legendary S. D. Burman. Born on 14 December 1940 in Agartala, Tripura, he wan brought up in an environment conducive to art and literature.

K. D. Burman is the editor of prantik- the first ever collection of poems from Tripura- published in the year 1962.He also publishes a bimonthly literary magazine, prantik shahitya patra.

He has been awarded the Sachin Samman by the government of Tripura for his book Sachin Kartar Ganer bhuban(the Bengali original of S. D. Burman: The World of His Music).Other books authored by him are: Rahul Dev Burman prince of music, Rajnandini, Aayanaye Nijer Mukh, Nasta Samay, Tripuraye Annaya Rabindranath, Tritiya NNayan, Santan, Sandhey Belar Pratham Dupur and Chandra Prahar. His works have been highly accleaimed by literary critics.

Music was the leitmotif of Sangeetacharya kumar Sachin Dev Burman’s world. All aspects o fhis life were tuned to the world of music he created. What I have attempted in this book is an analysis of his multifaceted musical talent and its contribution, and in the process, I have cast a look at how music shaped his life. I am not a connoisseur of music and in my attempt to discuss Sachin-Krta’s music, depending solely upon my sense of hearing, I may have missed mabny a finer poinrt and made many mistakes. I beg the indulgence of experts for the same.

The book is the first attempt at a chronological analysis of the master’s music in the English language .

Sachin – karta’s music is like the elixir of life. It sends a delightful shiver through the body and mind. It resonates with the flavour of life and raises a storm in the deep recesses of the hearts of listeners. The irresistible strains of the flute-dakatiar banshi (dacoit’s flute)-dakatiar banshi (dacoit’s flute)-captivate one’s heart.

The novelty of his songs creates an unparalleled sensation amongst one and all, high and low. Sachin-karta presented ragas through folk music and folk music through ragas, without distorting them, to bring about a delectable harmony of rural and urban sounds. What set his music apart was his style. It is easy to comprehend but impossible to imitate, full of the aroma of rain-sprinkled earth. His music is soaked with a sweetness which attracts everyone, induces one and all to shed all inhibition and sing; music which can never die.

Many of Sachin’s contemporary musicians have been forgotten. What is it about his music that keeps people spellbound even today? The answer is life. Like flowers falling to the ground from a tree in full bloom, his music rains on the senses, curing listeners of afflictions and sorrows, and filling them with and inner joy. Like Rbindra Sangeet, Sachin’s music is clearly discernible. It has its own tradition.

It has been my long-standing desire to write a book on Sachin-karta. What I have attempted in this book is to bring ort the unity in is life and music. This account of the maestro’s life is based on exhaustive research into his oeuvre and I hope I have been able to document the history of the man and his life in music well.

Sachin Dev Burman wrote his autobiography Sargamer Nikhad in 1970 which was published in the Bengali journal Desh. For close to forty years, this has remained unnoticed. In order to satisfy the longing of his many admirers, I have quoted extensively from Sargamer Nnikhad in this book.

I gratefully acknowledge the contribution of Debashish Mukhopadhyay, Sanjoy Sengupta, Ujjal Nandi and Screen. It will not be enough to say that the book has benefited from their inputs. If it indeed becomes a collector’s item, it is in no small measure due to the sheer volume of data they provided. Merely conveying my thanks will only be demeaning their contribution.

Sumita Dev Burman has been a source of constant encouragement. It is meaningless to convey my gratitude to one who has tolerated me, my entire personality all along, with whatever good or bad it contains.

All my efforts will be considered a success only if readers accept this book with love.