Salil Chowdhury

Salil Chowdhury (Bangla: সলিল চৌধুরী) (1923-1995) was a famous Bengali composer and poet. He was born on November 19, 1923 and died on September 5, 1995, just before his 72nd birthday.

One of India's original musical talents, he was widely recognised and acknowledged in the Bombay film industry, as one of the prodigious talents on the lines of Naushad, and Shankar-Jaikishen. He was also an accomplished composer, and was proficient in several musical instruments, including the flute, the piano, and the esraj. Regarded as one in the league of intellectuals having born in the state of West Bengal, he was also widely acclaimed and admired for his inspirational and original poetry. He was fondly and reverently called Salilda in Bollywood.

Early childhood

Much of Salil Chowdhury's early childhood was spent in the tea gardens of Assam, where his father was a medical doctor. A lot of his childhood was spent in listening to the Western Classical collection of his father, which shaped his musical thinking. Salil's father was reputed to stage plays with coolies and other lowly workers of the tea-gardens. His father's strong anti-British feelings, and constant concern for the condition of the tea-estate workers were a source of inspiration to him. He graduated from Bangabashi College, Kolkata and it was during this period of time that his political ideas were formulated quickly along with a considerable maturity in his musical ideas.

Early influences

Living through the Second World War, the Bengal famine and the hopeless political situation of the 1940s, he became acutely aware of his social responsibilities. This is when he joined the IPTA (Indian Peoples Theater Association) and became a member of the Communist Party of India. During this period he wrote numerous songs and with IPTA took his songs to the masses. They travelled through the villages and the cities and his songs became the voice of the masses.These songs were very powerful indeed. Songs of protest, which made people aware of the rampant social injustice which surrounded them. These songs became very powerful and stimulating. In fact, Salil always retained his strong feelings for the social injustice and very often wrote songs which reflected those feelings. He called these songs the 'Songs of consciousness and awakening'. These mass songs became a part of the Independence movement of India and are interestingly still performed all over Bengal after all these years.

Transformation of Bengali music

Salil Chowdhury's Bengali songs changed the face of Bengali music in a very sudden manner. The people of the state of West Bengal where thrilled with the new wave of music from this person. This new wave seeped in with Salil Chowdhury and continued for the next three decades.

Distinct phases in his music

There are two distinct phases in Salil's life. The first phase, very much non-professional in intent, started in the pre-independence era of the 1940s and went on till mid '50s. The second phase which was more professional started around that time. During the first phase he was a brilliant lyricist,songwriter,poet and a playwright and a much more mature composer in the second phase. The composer Salil reached the greatest heights in his second phase which basically started when he arrived in Bombay to compose for the film 'Do Bigha Zameen'. This was the Hindi version of the successful Bengali Film 'Rikshawalla'.He wrote the story of 'Rikshawaala' and composed the music as well.

Career

Since Do Bigha Zameen, he has composed for over 75 Hindi films, around 26 Malayalam films, and several Bengali, Tamil, Telugu, Kannada, Gujarati, and Assamese films. To the music connoisseurs, he was better known as the non-conformist music composer whose unceasing search for perfection towered above everything else in his life.

Yesudas has said that when Salilda and he sat together by a piano and heard Salil's compositions, it was a divine feeling and he never felt this way the divinity or music pouring from the heavens with any other composer.

Raj Kapoor once said about Salil: 'He can play almost any instrument he lays his hands on, from the tabla to the sarod, from the piano to the piccolo'. He was in fact a composer's composer, because he never really set prose to music. To him the melody was sacrosanct and had to precede the words.

Besides being a composer, he also wrote poems.

Legacy

Salil's music was a unique blending of the east and the west. He had once said: 'I want to create a style which shall transcend borders - a genre which is emphatic and polished, but never predictable'. He dabbled in a lot of things and it was his ambition to achieve greatness in everything he did. But at times, his confusion was fairly evident - 'I do not know what to opt for: poetry, story writing, orchestration or composing for films. I just try to be creative with what fits the moment and my temperament' he once told a journalist.

Salil's love for western classical music started when he was a young boy growing up in the Assam tea garden where his father worked as a doctor. His father inherited a large number of western classical records and a gramophone from a departing Irish doctor. On one hand Salil listened to Mozart, Beethoven,Tchaikovsky,Chopin etc everyday and on the other hand his daily life was surrounded by the sound of the forest, chirping of the birds, sound of the flute and the local folk-music. This left a lasting impression in young Salil. He became an excellent self-taught flute player and his favourite composer was Mozart. His compositions often used folk based melodies or melodies based on Indian classical ragas but the orchestration was very much western in its construction. He developed a unique style which was immediately identifiable.

Partial discography

Hindi films
- 1953 Do Bigha Zameen
- 1954 Biraj Bahu; Naukri
- 1955 Amaanat; Taangewaali
- 1956 Awaaz; Parivaar; Jagte Raho
- 1957 Aparadhi Kaun; Ek Gaaon ki Kahaani; LaalBatti; Musafir, Zamaana
- 1958 Madhumati
- 1960 Jawaahar; Honeymoon; Qaanoon; Parakh; Usne Kaha Tha
- 1961 Chaardeewaari; Chhayaa; Kaabuliwaala; Maaya; Memdidi; Sapan Suhaane
- 1962 Half Ticket; Jhoola; Prem Patra
- 1965 Chand Aur Suraj; Poonam Ki Raat
- 1966 Pinjre Ki Panchhi; Netaji Subhash Chandra Bose; Jawaab Aayega
- 1969 Ittefaq; Sara Akaash
- 1970 Anand
- 1971 Gehraa Raaz; Mere Apne
- 1972 Annadata; Anokha Daan; Anokha Milan; Mere Bhaiyaa; Sabse Bada Sukh
- 1974 Rajnigandha
- 1975 Chhoti Si Baat; Sangat
- 1976 Jeevan Jyoti; Mrigayaa; Udan Choo
- 1977 Minoo; Anand Mahal
- 1979 Kaala Patthar; Jeena Yehaan
- 1980 Chehre Pe Chehra; Chemmeen Lahrein; Chirutha; Kuhaasa; Naani Maa; Room no.203; Daisy
- 1981 Plot no. 5; Agni Pareeksha
- 1982 Dil Ka Saathi Dil; Darpok ki Dosti; Artap
- 1984 Kanoon Kya Karega
- 1986 Zevar
- 1988 Trishaagni
- 1989 Kamla Ki Maut; *Jawaahar(2)
- 1990 Triyaatri
- 1991 Netraheen Saakshi;
- 199? Aakhiri Badlaa
- 199? Tiriacharittar (or Striyascharittram)
- 1994 Swami Vivekananda
- 1995 Mera Damaad
- ???? Hamaari Shaadi; Maange Miley na Pyaar; Raat Ki Uljhan; Mitti Ka Dev

Bengali films
- 1949 Poribartan
- 1951 Barjaatri
- 1952 Paasher Baari
- 1953 Baansher Kella
- 1953 Bhor Hoye Elo
- 1954 Aaj Sondhaay
- 1954 Mohila Mahal
- 1955 Rickshawaala
- 1956 Raat Bhore
- 1956 Ak din Raatre
- 1959 Baadi Thekey Paaliye
- 1960 Ganga
- 1961 Rai Bahadur
- 1964 Kinu Goaalaar Goli
- 1964 Ayanaanto
- 1964 Laal Paathor
- 1966 Paari
- 1972 Marjina Aabdullah
- 1972 Raktaakto Baangla †This film was made in Bangladesh
- 1977 Kobita
- 1977 Sister
- 1979 Jibon Je Rakam
- 1979 Srikaanter Will
- 1980 Byapika Bidaay
- 1980 Parabesh
- 1980 Akaler Sandhaney
- 1980 Antarghaat
- 1982 Artap
- 1985 Protiggya
- 1985 Debikaa
- 1985 Mowchor
- 1986 Jibon
- 1989 Swarnatrishaa
- 1990/91 Aashrita **(background: Salil) (MD:Hridaynath Mangeskar)
- 1994 Mahabharoti
- 19?? Komol Gandhaar
- 19?? Haraaner Naatjamaai
- 19?? Ei Ritur Akdin
- 19?? Chalo Kolkataa
- 19?? Obhisake
- 19?? Aswamedher Ghoraa
- 19?? Sei Samoy

Malayalam films
- 1965 Chemmeen
- 1968 Ezhuraathrikal
- 1970 Abhayam
- 1973 Swapnam
- 1974 Nellu
- 1975 Neelaponman
- 1975 Raagam
- 1975 Rasaleela
- 1975 Thomasleeha (or St. Thomas)
- 1975 Prateekshaa
- 1976 Aparadhi
- 1976 Thulavarsham
- 1977 Dweep
- 1977 Samayamayilla Polum
- 1977 Etho Oru Swapnam
- 1977 Madanolsavam
- 1977 Vishukkanni
- 1978 Devdasi
- 1979 E Ganam Marakkumo
- 1979 Chuvanna Chirakkukal
- 1979 Puthiya Velicham
- 1980 Air Hostess
- 1982 Anthiveylile Ponnu
- 1990 Vaasthuhaara (background music only)
- 1991 Ente Kochu Thamburan
- 1994 Thumboli Kadappuram
- 1984 Vellam (background music only)

Tamil films
- 1971 Uyir (Salilda composed background music only - MD was Ramana Sridhar)
- 1973 Karumbu
- 1978 Parumavazhai
- 1979 Azhiyatha Kolangal
- 1980 Thooraththu Idimuzhakkam

Kannada films
- 1971 Samsayaphala
- 1975 Onde Rupa Eradu Guna
- 1977 Chinna Ninna Muddaduve; Kokila

Other films
- Gujrati 1971 Ghar Sansaar
- Assameese 1970 Aparajeyo
- Assameese 1985 Manas Kanya
- Oriya 1981 Batasi Jhada
- Marathi 1962 Sunbai
- Telugu 1974 Chairman Chalamayya

Awards and Recognitions

Sangeet Natak Akademi Award in 1998

External links

Salil Chowdhury at IMDb
The World of Salil Chowdhury, a comprehensive informational resource on Salil's background and works, including editorial articles and anecdotes written by Gautam Choudhury.
A Biography
[1], an article by Suman Chatterjee in Uttaran.
[2], an article by Manab Mitra on Salil Chowdhury
[3], article by Salil Chowdhury on the evolution of modern Bengali music
[4], Lata Mangeshkar on Salil Chowdhury
[5], "Few Moments with Salil Chowdhury" - An extended interview of Salil Chowdhury in 1978 by Kalpana Biswas - first appeared in the Bengali monthly publication "Kaalpurush"