My songs are interpretations in English and Swedish of P R Sarkar’s Prabhat Samgiit

Prabhat Samgiit – a collection of 5018 verses – constitutes a distinct school of music named after its illustrious composer – noted Indian philosopher Prabhat Rainjan Sarkar. Prabhat Samgiit acquires its unique distinction in the world of poetry and music because of its singular qualities like Bhava (profound import), Bhasa (graceful language), Chanda (rhythmic expression) and Sur (sweet melody).

The apparent feature of Prabhat Samgiit is its note of vibrant optimism which manifests itself through every word of the compositions. Sarkar held that Art is for Service and Blessedness, and hence one finds every song from this creation replete with an effulgence of hope and joy. This is a marked departure from the current trend of composition.

As stated above, the merits of a musical composition can be judged by its Bhava, Bhasa, Chanda, and Sur.

In the realm of Bhava, Prabhat Samgiit uplifts one to the subtler regions of profound and mystical communion with the Divine. Interwoven through all the various compositions is the conscious desire of the singer to have a closer communion with his Lord.

The language throughout is direct and sweet. Hitherto it was felt that simple and colloquial words were unsuitable for the expression of lofty or abstract ideas in verse and song. But Prabhat Samgiit makes a bold departure from this tradition thus reaching out to very many of the tribal people of the Rarh belt of Bengal. This makes it immediately acceptable to the simple but unlettered minds and hearts – hence its universal appeal.

With regards to rhythm, the poet has remarked that the ensuing generation is the generation of rhythm and rhythmic expression. Prabhat Samgiit in all its aspects, classical, semi-classical and folk, is replete with highly rhythmic compositions. It is a happy blend of oriental thought and melody with occidental rhythm.

In Prabhat Samgiit one finds a cultural synthesis of melodies. Notable among them are the blending of European, Middle Eastern and African melodies and styles, along with melodies from the Indian tradition. It is also opportune to note here that the composer of Prabhat Samgiit has further introduced Ghazal and Tappa melodies in Bengal devotional music.

All of us have our varying moods, sentiments and propensities, and Prabhat Samgiit gives scope for their manifold expressions. Apart from the purely devotional and mystical songs and the Kiirtanas, there are songs to celebrate social occasions and festivals as well as those that herald the seasons. All with the underlying note that seeks to create a link between the finite and the infinite.

It is significant to note that the first song of Prabhat Samgiit was composed in September of 1982 and until the untimely death of the composer in 1990 a full 5018 verses were completed, many of them choreographed as well by the author. An astonishing creative feat, no doubt, eclipsing by a wide margin Rabindra Samgiit by Indian Poet Laureate Rabindranath Tagore.