SING VANDE MATARAM, THE SONG OF LIBERTY, OF HINDUSTAN. MOTHERLAND PERSONIFIED
or www.mantra.com/jai
Forwarded message from "k" <kaly...@gmail.com>
[ Subject: Sing Vande mataram, the song of liberty, of Hindustan. Motherland personified!
[ From: "k" <kaly...@gmail.com>
[ Date: Mon, 28 Aug 2006 16:19:57 +0530
Lata Mangeshkar (1952) Vande Mataram:
http://www.emusic.com/album/10832/10832970.html Length 3.02
Watrch and listen, scroll down at: http://vandematram.wordpress.com/
Download Bande mataram men thadum:
http://www.papuyaar.com/music/download.php?sid=12678 (Vocal 9.6mb)
http://www.papuyaar.com/music/download.php?sid=12674 (Instrumental 7.7 mb)
Vande mataram in instrumental music -- Ranjan Sharma)
Instrumental version of the national song *Vande Mataram*, written by B. C.
Chatterjee. *Vande Mataram *is a prayer to the Mother Land that was sung by
freedom fighters all over India. It was then denied the status of national
anthem in favour of a more consensual *Jana Gana Mana*. It still remains the
dearest song in the heart of most Indians. Musical instruments used:
Santoor, Sarod, Tabla, Pakhawaj and Tanpura; 1.69 mb
http://www.swarsyst ems.com/Download s/Ranjan/ VandeMataram. mp3
Say Vande mataram. Namaskaram.
k
*Vande Mataram*
A most popular and evergreen Indian song
The BBC is now 70 years old. As a part of its celebrations, an online
survey of World's 'top ten' songs was conducted in November 2002. It
received tremendous response from millions of Internet users from 155
countries; results were declared on December 21, 2002 and the Irish National
Anthem *A Nation Once Again* topped the list. An Indian song *Vande Mataram
* acquired second position. Although the voting was for a version with the
tune set by A R Rahman, the song has been extremely popular in India for
over 100 years. Several musicians and singers have recorded it on
gramophone records from as early as 1905.
This article traces back the various aspects of this evergreen,
controversial and sacred song, which Bengalis would call *Bande
Mataram*whereas Indians from other states call it
*Vande Mataram*. Part One *Bande Mataram - National Anthem? National song?
or a Cultural song?*
Sunday, 7th November 1875. 'Akshay Navami' Bankimchandra Chatterjee
(1838-94) wrote his famous song *Bande Mataram* at his residence in
Kantalpada, in Naihati village, which is just a few miles away from
Calcutta. The song is now 125 years old. It is probably the only Indian
song that is still widely popular all over India, and musicians still want
to sing it again and again, and keep composing new tunes for it. During
this year of celebrations, a book in Marathi, Vande *Mataram: Ek Shodh* by
Mr Milind Sabnis, was published in Pune. This is a carefully researched
monograph, which should be translated into Hindi and English soon. This
year, an edited Hindi version of Bankimchandra' s novel, *Anandmath* was
published in Mumbai. [image: an artists interpretation of the godess
described in Vande Mataram] A few audio/video albums featuring *Bande
Mataram* have been released in the last five years. "The Society of Indian
Record Collectors," a Mumbai-based organization, has traced about one
hundred different versions of *Vande Mataram* recorded over the last hundred
years. These versions vary from the voices of Rabindranath Tagore to that
of A R Rahman. Based on available recordings, an attempt has been made to
note the musical aspects of this evergreen song.
Bankimchandra was among the first batch of graduates from Calcutta
University. Soon after he had securred his BA, he was appointed as Deputy
Magistrate, and eventually became a Deputy Collector. In his work, he had
ready access to old papers and gazettes, and came across the documents
related to the mutiny of Sanyasis (saints) in Dhaka, North Bengal, Nepal,
Tarai, Dinajpur, Rangpur, and Purniya during the period from 1763 to 1780.
He decided to write a novel, *Anandmath*, based on the heroic deeds of these
sanyasis. In his youth, he had witnessed the unsuccessful mutiny of 1857.
Around 1870, the British rulers were trying hard to force their anthem, *God
Save the Queen *, on Indians. This made a deep impact on Bankimchandra' s
sensitive mind, and he wrote *Bande Mataram* in one sitting, in a mood that
must be called transcendental. He wrote the song as a prayer in which the
nation 'Bharat' was described as 'The Mother'. The song was later included
in his novel *Anandmath*, which was published serially in his magazine *
Bangdarshan* during 1880-1882. The song was heavily criticized by his
friends, and also by his daughter, for the words were difficult to
pronounce, and the song comprised of a mixture of Bengali and Sanskrit
words. He argued that he wrote it spontaneously to express his emotions and
thoughts without caring for its future. However, like a prophet, he said,
"I may not live to see its popularity, but this song will be sung by every
Indian like a Ved Mantra." And that is exactly what happened after the
partition of Bengal in 1905.
1]* Beginning of the century* - The song remained in the novel
*Anandmath*until it was sung by Rabindranath Tagore at Beadon Square
in the 1896
convention of the Indian National Congress. It soon became part of a
tradition after that, and even today Congress conventions, and sessions of
the Loksabha and the Vidhansabha begin with the recitation of the first
stanza of *Bande Mataram*. In 1905, large crowd gathered at a town hall in
Calcutta to protest against the partition of Bengal, and someone from the
crowd shouted *Bande Mataram.* It became a very popular slogan overnight.
It crossed the boundaries of Bengal and spread all over the country like a
flame. Soon the British administration banned the songs and the very slogan
*Bande Mataram *. Given its growing popularity it is no surprise that early
recording companies like Bose records and the Nicole Record company recorded
it in the voice of Rabindranath Tagore, Babu Surendranath Banerjee,
Satyabhushan Gupta, R N Bose and others. Hemendra Mohan Bose released a
version commercially on his label, H Bose Records, in 1907. The police
destroyed the factory, and the existing stock of records. However a few
copies of the disc survived in Belgium and Paris (where Pathe/H Bose records
were pressed). Hence we can still listen to *Bande Mataram* in
Rabindranath' s voice. Unfortunately, he recites the song in a rather
shrill, high pitched and nasal voice, and in extremely slow tempo. This is
the oldest recording available on a gramophone record. It has now been
released on CD and is available along with a book, *Rabindranath Tagore:
Facets of a Genius*, published by All India Radio in 1999.
2]* The Pre-independence period: *Due to the British ban, the song became
even more popular and an abiding source of patriotism. The couplet *Bande
Mataram* received the status of a Vedic Mantra, and served as a slogan for
revolutionaries. Pandit Visnu Digambar Paluskar sang it in Raga Kafi in
congress conventions for several years. After his death in 1931,
Pt.Omkarnath Thakur used to sing it in Raga which he called *Bangiya Kafi*.
Paluskar did not cut any gramophone discs, but Omkarnath Thakur's commercial
recording is available and he has sung it in very slow tempo, without
percussion accompaniment, and only the haunting notes of a tanpura in the
background. The rendering reminds us of his famous record *Mitawa
Balamva*in Raga
*Nilambari*.
In addition to its status in political contexts, several composers and
singers both in Bengal and in Maharashtra considered it as a wonderful lyric
for expressing devotion towards the motherland. Around 1928, Vishnupant
Pagnis (later famous for his role in Prabhat Film Company's film *Saint
Tukaram*) cut a record in Raga Sarang. Sung in the very loud and clear
voice of a Bhajan singer, he has even changed the order of the stanzas in
the original text. In 1910/12, another bhajan singer, Savlaramboa from
Mumbai [Lalbaug/Parel] , sang it in Raga Kalingada, and his rendering can
touch the soul of any responsive listener. While setting the tune to a
well-known folk melody, Keshavrao Bhole [famous as a music composer for the
Prabhat Film Company] cut an Odeon record in 1935 in Raga Deshkar, which is
an early morning melody. His singing is scholarly, with showers of taans
which can remind knowledgeable listeners of the famous Marathi stage
song *Priye
Paha*.
During this period, Bengali composers and singers were also setting the song
to a variety of different tunes, cashing in on its steady popularity. Desh
Das, Satyabhushan Gupta, Dilipkumar Roy, Bhavanicharan Das, Hemchandra Sen,
and Harendranath Dutt recorded under different labels. Typical Bengali
pronunciations and mridanga accompaniment are the peculiarities of these
recordings. The style is inclined towards Rabindra Sangeet. In the South,
Smt. D Vasanta and D Vimla have cut records, but these are no longer easily
available. M S Subbulakshmi has sung it as a duet with Dilipkumar Roy with
a different Raga and tempo for each stanza. M S Subbalakshmi has also sung
a Tamil version of *Bande Mataram* in a translation by Subramaniam Bharati.
This recording creates a devotional mood. Among other duets, Geeta Dutt has
sung it with G M Durrani.
3] *Chorus/Orchestral Bande Mataram: *Several such records were made and
released commercially. These were especially used in public functions or
meetings. Rabindranath' s original tune was sung by Viswa Bharati artists,
and it is available both in vocal and in instrumental form. Upon the
suggestion of Subhashchandra Bose, Timir Baran set the tune to Raga Durga in
the style of a marching song. This gramophone record was used for the
parades of the Azad Hind Sena, and the record was frequently broadcast from
Singapore radio. There is a mixture of Indian and western instruments in
the orchestration. Sursagar Jagmohan, Matrusevak Dal of Kamal Dasgupta
Pankaj Mullick, Aanadi Dastidar, Rajan Ssarkar and others made similar
recordings.
Several composers, musicians and singers from Bengal and Maharashtra were
confident that this would become the Anthem of independent India. Hence
they set a number of tunes for the song. Among these were Master Krishnarao
Phulambrikar and Mr V D Ambhaikar. The latter is now 90 years old and lives
at Dadar. Master Krishnarao composed it in Raga Kafi and also in Raga
Jhinjhoti. The tune is simple and could be sung easily by anyone. He cut a
gramophone record around 1935. His radio broadcast was interrupted soon
after he began to sing the banned song at the end of his program. He then
boycotted all radio programs. He popularized his tunes through gramophone
records and by singing it in his music concerts. After Independence, he was
invited to sing on All India Radio and he began his concert by singing *Vande
Mataram*. In 1948, when he learnt that Pandit Nehru was against the music
of the song and not the contents, he volunteered to prepare tunes that would
conform to guidelines similar to those laid down by the British. He
prepared several alternative versions of the song recited solo, in chorus,
as a marching song, with and without accompaniment. These recording were
played to members of the Constitution Committee.
Mr V D Ambhaikar made similar efforts. He composed a tune in the Raga
Khambavati, and prepared a number of test records. He too presented his
tunes to the Constitution Committee. Dr Babasaheb Ambedkar liked the tune
very much and suggested that if a gramophone record were made in the voice
of Kesarbai Kerkar, he would be the first person to buy it. However, she
refused to record the song, and finally the record was cut in the voice of
Moghubai Kurdikar. This rendering does create a serene and pious mood,
however the pitch and the higher octave used is beyond the capacity of the
lay person. No wonder then that these efforts were rejected by Pandit
Nehru. Around same time, the musician Vasant Desai made records on the *Young
India* label in which he sang the first stanza of the song. He sings solo,
and then the chorus repeats the lines after him. There are two versions
using Indian and western instruments like Shinga, Choughada, Flute and
Piano, trumpet and Jhanj. Very few copies of these records have survived
today.
Pandit Nehru of course gave the final verdict. In a meeting of the
Constitution Committee held on 24th January 1950, President Dr Rajendra
Prasad announced that *Jana Gana Mana* would be the National Anthem of
independent India and *Vande Mataram* would be the National song with same
status as the Anthem. With this decision, all efforts at providing new
tunes ended and the recordings made up to that time have now become
important documents and part of our cultural heritage.
4] *Post Independence era:* In 1947, this song was included in the Hindi
feature film *Amar Asha *(Immortal Hope). As no gramophone record was cut
and the film reels are not available, the details and the tune are lost to
history. Pannalal Ghosh set the tune in a typical Bengali folk idiom for
the film *Aandolan* in 1951. It is sung by Manna Dey, Parul Ghosh, Sudha
Malhotra, and Shaileshkumar. The film *Anandmath* was made both in Bengali
and in Hindi in 1952. The tune is still very famous and popular. It is
composed using a mixture of Ragas Malkauns and Bhairavi, and is highly
inspiring. Hemant Kumar and chorus have sung it in Aarati style with
prominent mridanga accompaniment in the Bengali film *Mahabiplovi Aurobindo*.
The credit titles of the Hindi film *Leader* (featuring Dilip Kumar) had *Vande
Mataram* sung in chorus in the background. Naushad gave the music. No
gramophone record was cut and the singers were not identified. This is a
very simple marching tune. In 1997, Usha Utthup sang it in Shyam Benegal's
*Making of the Mahatma* in the tune set by Vanraj Bhatiya. It is set to a
tune in a style that resembles Pop music, and occurs as a background score
during Gandhiji's famous long march in south Africa in the first decade of
this century, where it appears a little anachronistic.
Both *Jana Gana Mana* and *Vande Mataram* have five stanzas each, and
generally only first stanza is sung or played. As a result, most Indians
have either forgotten, or are unaware of, the complete song. Both the songs
were recorded specially by the Gramophone Company for playing on some 800
AIR [All India Radio] stations. It is believed that Ravi Shankar set the
tune when he was a radio staff artist. Both vocal and instrumental versions
were recorded, each lasting for about 58 seconds. This tune is very simple,
and succeeds in creating a serene and solemn mood of worship of the
motherland. Every morning, all the radio stations played *Vande Mataram* in
the vocal version immediately after the signature tune. Later the same
practice was observed on TV/Doordarshan too. These recordings are also
played in public meetings and functions, especially in the South Indian
states where Hindi has not been accepted as the national language.
In 1982, Mahendra Kapoor cut one 45 rpm disc in which he has sung both the
songs using a chorus. Apart from this, no one has ventured to compose a
fresh tune in the last 50 years. It continues to be played at the opening
sessions of parliament and state legislative assemblies. Citizens are
expected to stand at attention while it is sung or played in all public
meetings.
5] *Golden Jubilee celebrations of India's Independence and Vande Mataram*
In 1997, India celebrated its 50th year of independence. In celebration, G
Bharatbala reviving the words *Vande Mataram* (in Hindi "Maa Tujhe Salam")
while launching A R Rahman's audio-video album. This album contains the
Bankimchandra original *Bande Mataram*, sung beautifully in Raga Desh Malhar
with wonderful tone and color to the instrumental sound. The song as played
in the other tracks of the album has received widespread acceptance by the
contemporary listening public, and its words have acquired a new currency
all over India. But the song text is different from the traditional *Vande
Mataram* in some crucial respects. The video shows citizens of all age
groups with tricolor of different sizes in their hands, while some are shown
trying to raise a huge flag lying on the ground. Nobody seems to have
followed the guidelines for flag hoisting during the shooting of the video.
The national flag, which is a symbol of the nation's prestige and pride, is
used in a manner that makes it into a virtual toy or accessory. The tune
shows a Western Michael Jackson type of influence, and it has become
extremely popular all over the nation and in other countries where the video
has been telecast. The composer Rahman has posed, sung and danced in
Michael Jackson style for the video. On the eve and at midnight of 14th
August 1997, his group gave a live performance at India gate, dancing *Vande
Mataram - Ma Tujhe Salam*. The event was probably sponsored by the
celebration committee of the government.
At the same time, a special session of Parliament was convened. Our MPs
were to be seen standing and nodding their heads when Pandit Bhimsen Joshi
sang it for over two minutes in the style of a classical music concert, with
excellent accompaniment on tabla and harmonium. One of the points about
which objections have been raised before Independence, and since, is that
the government-sanction ed version played on AIR is without any
accompaniment. In the following year, on 14th August 1998, Pandit Jasraj
sang it at the same place, without instruments but with a chorus humming in
the background while Panditji takes the centre-stage. On both occasions,
our MPs have been shown clapping enthusiastically at the end. Do we ever
clap after singing the Anthem? Is this the way in which we respect our
National Anthem?
6] *Vande Mataram at the turn of 20th century*
Due to the massive success of this album, the same group launched another
album *Vande Mataram - 2* in 1999, with a music score by Ranjit Barot, son
of yesteryear's famous dancer Sitaradevi. This album includes a reissued
version of Lata Mangeshkar's *Vande Mataram* from the 1952 film *Anandmath*.
The lyricist Mehboob wrote another lyric for Lata Mangeshkar (for the
leading line, "Sujjalam, Suffalam, Malayyaj Sheetalam, Sasyya Shyyamalam
Maataram") words easily borrowed - or marrowed? - from the sacred song of
national pride. The remainder of the lyric, as before, is different and
Lataji has sung wonderfully to the same old *Anandmath* tune for "Maa Tujhe
Salam, Maa Tujhe Pranam." The lyricist appears to have conjoined the words
"Salam" and "Pranam," though there is a world of difference between the
two. In the same album Shubha Mudgal has sung the familiar *Vande
Mataram*in a pop idiom, whereas Kausiki Chakravarty sings it like a
lullaby.
Several musicians, composers and singers have re-presented the song recently
in different styles and forms. Guru Kelucharan Mahapatra staged a ballet
based on *Vande Mataram* during the Elephanta festival, and the song was
sung by Ustad Rashid Khan. In one of the Indian Music Group's concert at St
Xavier's college in Mumbai, Pandit Ram Narain played it on the Sarangi in
concluding a recital. Anoop Jalota sang it in his latest album of
Deshbhakti songs. On 15th August 2000, Hindukush released a new video album
*Vande Mataram* in the voice of Sadhana Sargam.
7] *Vande Mataram in the 21st century*
The song *Vande Mataram* is now 125 years old, and has now entered the 21st
century. In 1975, while celebrating its centenary, a conference was
organized at Banaras in which books, monographs and proceedings devoted to
the song were published. In 2000, the Vande Mataram Shatkottar Rajat
Jayanti Samiti of Pune published a Marathi book on the song. The Society of
Indian Record Collectors found over 100 recorded versions of the song and
presented over 20 illustrated listening sessions to audience of various age
groups in Maharashtra.
As usual, no political party (including the Indian National Congress) took
any note of these activities. Hard-liners with slogans like "Garva Se
Kaho...." and/or "Is Desh Men Rahana Hoga To Vande Mataram Kahana Hoga" did
not seem to know about this event. Even Bengalis have failed to notice
these activities, probably because of the last fifity years of communist
rule in Bengal. The Rashtriya Aghadi Government announced the formation of
a committee that would attend to issues concerning the song and its future
but nothing has come of it since.
Musically speaking it seems that Indians will never forget this lyric even
after another 125 years. This is clearly seen with the new compositions and
renderings. From R N Tagore to A R Rahman and beyond, numerous tunes have
been composed and no other song in Independent India has received so much
attention. This is probably because we Indians do not consider this as the
national song or Anthem. We treat it as the song of our culture, a
'Prateek' or living symbol. In Hindu culture, the mother is considered a
God, and worshipping the mother through songs is an age-old tradition. *Vande
Mataram* is one such song, which describes the motherland. That is why the
song keeps reappearing again and again in different forms. It will be no
great wonder if it gets set to an assortment of new musical idioms - even
jazz, rock, rap or metal - in the 21st century. Its appeal and purpose will
keep changing from time to time but the basic aspect of the "Ave
Maria-Mother I bow to Thee" will remain. In this sense, then, all the tunes
described above could be said to be well-justified and much appreciated. Part
Two - Audio sound track details *Vande Mataram* Some interesting events
before the song became popular nationwide
- Vande Mataram composed by Pujjyosri Bankim Chandra Chattopadhyay in
1875. Now it is established that the date was 7th November 1875. As per
Hindu calendar Sj.Jadunath Bhattacharya was asked to set tune to this
song just after it was composed.
- Sj.Gopal Chandra Dhar of Hooghly District, Bengal sung it in Raga
Desh Malhar in 1876.
- The song was included in his novel *Anandmath *by the composer and
was printed separately in 1882.
- In 1885, Prativa Devi, niece of Rabindranath Tagore, made a notation
of the song which was published in *Balak* magazine.
- Sung in National Congress in 1896, at Beadon Square, Calcutta by
Rabindranath Tagore and the song was declared to be recognized as the
National song. Piano accompaniment with the song was given by Jyotindranath
Tagore.
- Sj.Dakhina Charan Sen, a specialist in western tunes, sung the song
in Calcutta Congress in 1901.
*Bande Mataram on 'Dhwani Mudrika' [Gramophone Records and cassettes]*
Note - This list could still be incomplete and readers are requested to send
additional information.
Serial No. / Company, Label / Record Number (year) / singers and other
details
1] Nicole Records / C 465 (c.1905) / Narain Chandra Mukherjee
2] Nicole Records / C 436 (c.1907) / Narain Chandra Mukherjee
3] H.Bose's Cylinder Record / 250 (c.1906) / Rabindra Nath Tagore (Concert
size)
4] H.Bose's Cylinder Record / s 250 (C.1906) / Sevak Sampradaya (Standard
size)
5] Pathe / H.Bose's double sided vertical cut Record / 3511 (C.1908) /
Rabindra Nath Tagore
6] Pathe / H.Bose's double sided vertical cut Record / 3512 (C.1908) / Sevak
Sampradaya
7] H.Bose's Record / Pathe / 36-250 (C.1908) / Rabindra Nath Tagore
(Standard size record - 250 ml.)
8] H.Bose's Record / Pathe / 36-350 (C.1908) / Rabindra Nath Tagore (Concert
size record - 150 ml)
9] Gramophone Monarch Record (12") / 012112 (1906) / R.N.Bose
10] Gramophone Concert Record (10") / 5 - 12638 (1906) / Narain Chandra
Mukherjee
11] Gramophone Concert Record (10") / 5 - 12639 (1906) / Narain Chandra
Mukherjee
12] National Grand Record / 20290 / Babu Surendranath Banerjee
13] Beka Grand Record / 21125 (1908) / Babu Hem chandra Sen
14] National record / 462 / 541 (1907) / Narain Chandra Mukherjee
15] Odeon Record (10 3/4") / 94131 (1911) / Satya Bhushan Gupta[image:
vande6.gif - 18.59 K]
16] Viel-O-Phone Record / T 6003 (1912) / Desh Dass
16A] Viel-O-Phone Record / VR 1567 [1073-74] Raga Desh - complete song in
two parts.
17] Phon-O-Phone Record / G 438 / 1029 (C.1910) / Savlaram Boa, Mumbai /
sung in Raga Kalingada.
18] Binapani Record / Just newspaper advt.(1908) only. Actual record not
seen.
[image: vande4.gif - 21.03 K] 19] H.M.V / P 5182 (C.1920) / Harendra Nath
Dutt
20] Hindustan Record / H 570 (C.1940) / Prova Roy, Jay Dass, Vijaya Devi,
Dhiren Gupta, Haripada Chatterjee. - specially trained by Dr Rabindranath
Tagore. Musical Direction by Sj. Haripada Chatterjee.
21] Megaphone Record Company / J.N.G. 5224 (C.1935) / Bhabani Charan Dass -
in two parts - Matrix numbers - DMC 8661/8662.
22] H.M.V / N 6944 (C.1950) Matrix number - OMC 8468 / Matruesvak Dal -
Music by Kamal das Gupta
23] Ananda Bazaar, Hindustan Record (12") / AHR 1 (C.1938) / Chorus in Raga
Durga. Music by Timir Baran.
24] Columbia GE 3132 (C.1935) / Pt.Omkarnath Thakur - Raga Bangiya Kafi
25] Columbia BEX 201 (12") [C.1935] / Pt.Omkarnath Thakur
26] Columbia 7 EPE 4227 (C.1965) / Pt.Omkarnath Thakur [reissued]
27] Rhythm House Classic 240 361 (c.1990) / Live recording in Mumbai c.1960.
28] Young India TM 8463 (C.1948) / N.R.Bhattarcharya and Party
29] Young India TM 8474 (C.1948) / side 1-Trumpet,Jhanj and Piano, side
2-Shing and Chaughada. Music - Mr Vasant Desai
30] Young India TM 8475 (C.1948) / side 1 - sung and music by Mr Vasant
Desai
31] Young India TM 8476 (C.1948) / side 1-Shing and Chaughada,side 2 - for
use in theaters. The tunes are like the marching songs.
[image: vande5.gif - 20.42 K] 32] H.M.V. N 17014 (C.1950) / Sati Devi,
Kamal Das, Ajay Biswas, Somen Gupta. Music Direction - Sur Sagar
33] H.M.V. HT 80 (12") [C.1945] / Dilip Kumar Roy
34] H.M.V. N 14421 (C.1950) / Dilip Kumar Roy, and M.S.Subbulaxmi
35] Columbia GE 3997 (C.1950) / Bai Mogubai Kurdikar, Raga - Khambavati.
Music - Mr V.D.Ambhaikar
36] Columbia GE 7357 (C.1950) / Surshree Orchestra - conducted by Rajan
Sarkar
37] H.M.V. N 20109 (C.1950) / Vocal and instrumental by Sur Sagar
Jagmohan. Side one - vocal, Side two - instrumental.
[image: vande1.gif - 19.06 K] 38] H.M.V. N 27829 (C.1950) / Jagonmoy Mitra,
Dwijen Chowdhury, Debbrata Biswas, Niharbindu Sen, Kanak Das, Suchitra
Mukherjee, Supriti Ghosh, Gita Nabar. Music Direction - Anadi Dastidar.
39] H.M.V. N 27893 (C.1950) / Jagonmoy Mitra, Beehu Dutta, Roma Devi,
Supriti Ghosh. Tune and Music Direction - Timir Baran.
40] H.M.V. N 28000 (C.1950) / Smt.D.Vasanta and D.Vimala (Tamil)
41] H.M.V. N 28002 (C.1950) / Miss D.Vasanta (Tamil)
42] H.M.V. N 16872 (C.1950) / Varat Vyas and Party (Hindi)
43] H.M.V. N 16331 (C.1950) / Ram Asram Girl's School (Hindi)
44] Hindustan Records / H 1348 (C.1940) / Pankaj Mullick and others.
Orchestra with vocal refrain.
45] H.M.V. P 11361 (C.1928) / Vishnupant Pagnis - Raga Sarang. The same
track is reissued on Rounder CD 1083 (1993) *Vintage Music From India -
North India* - track no.17
46] Ramagraph R 920 (C.1930) / 6029-30 / Vishnupant Pagnis - Part 1 & 2.
47] H.M.V. N 36170 (C.1950) / Geeta Roy and Durani
48] Columbia GE 17512 (C.1938) / Master Krishnarao - Raga Jhinjhoti
[image: vande3.gif - 22.05 K] 49] H.M.V. N 16939 (C.1951) / Chorus - Vishwa
Bharati Artists
50] H.M.V. N 16985 (C.1951) / Chorus - Brass Band Group
51] Senola Records / QS 711 (C.1935) / Chorus from Film 'Bande Mataram'
(Bengali). Tune - Sukerti Sen.
52] H.M.V. PMLP 1703, cassette STHV 24172 (C.1965) / " Shraddhanjali" (LP)
/ Hemanta Mukherjee and others - from Bengali film ' Mahabiplavi aurobinda '
53] H.M.V. N 27606-611 (C.1950) / Bengali Drama Set Records - 'Anand Math'
- Dramatized by Manmatha Roy.
54] Columbia GE 7323-29 (C.1950) / Bengali Commentary Drama set Records -
'Swadhintar Saadhana [part of the song only] / by Sachin Sen Gupta, Music -
Durga Sen.
55] Test Record / ?? / Chandra Bandorey - more or less in the tune as sung
by Pt.Omkarnath Thakur.
56] H.M.V. N 82936 (1962) / Chorus - AIR Choral Group
57] H.M.V. 7EPE 1006 (1965) / Chorus - AIR Choral Group
58] H.M.V. (LP) ECSD 35518 (C.1970) / Bharati Songs - I /
Smt.M.S.Subbulaxmi (Tamil Version), side two - track one (different tune).
59] Odeon A 245012 b (C.1935) / Vande Mataram / Mr Keshav Rao Bhole - in
Raga Deshkar.
60] Star Hindustan Record JSA 5305 (C.1940) / Shobha Khanna, Kamala and
Suresh. Music - Purshottamdas Jalota.
61] Music India EP 2067 842 (1982) by Mahendra Kapoor and Chorus - National
songs. - arranged and conducted by Y.S.Mulki.
62] Janata Audio (JA 1001, Calcutta) cassette - 'PREYRONA' / side one - Sree
Radha Bandopadhyay, side two - Haimanti Shukla. Sung by two artists in two
different tunes. Tribute by W.B.P.C.C .: 50 years of independence and birth
centenary of Netaji Subhash Chandra Bose. Commemorating 80th session of
Indian National Congress, 8-10 August 1997, at Calcutta - W.B.P.C.C.
President Sj.Somen Mitra.
63] In Hindi film - "Amar Asha' [Immortal Hope] Music - No gramophne record
was issued. Singers are not known.
64] H.M.V. N 50169 (C.1952) / Lata Mangeshkar and others - Film 'Anandmath'
(Hindi). Music - Hemant Kumar. Reissued in *Vande Mataram* - 2 (1999) HMV
TPHVS-854 126
65] In Hindi film 'Aandolan' (1951) / Manna Dey, Shaileshkumar, Sudha
Malhotra, Parul Ghosh and others / Music - Pannalal Ghosh.
66] In Hindi film 'Leader' (1964) / used as a background chorus score for
the credit titles. / No record made - music by Naushad. Tune is like
marching song.
67] In Hindi and English film - 'Making of Mahatma' (1996) / sung by Usha
Utthup / Music by Vanaraj Bhatiya.
68] Sony Music 488 7094 (1997) / sung by Anuradha, Sujata, Kalyani Menon and
Seema / Music by A.R.Rehman.
69] HMV SPHOS 854083 (1996) / Mere Vatanke Logo [50 years of India's
Independence] / Lata Mangeshkar : New Recordings.
70] HMV TPHVS 854124 (1998) - Vande Mataram 2, Bharatbala Productions. 1)
Lata Mangeshkar - Vande Mataram 1998 & 1952, Jai Jai Mataram by Shubha
Mudgal and Tarana by Kaushiki Chakravarthy.
71] Polygram 6337 763 (1999) - A tribute to Nation - India Tu Hai Meri Pooja
- nine patriotic songs first time sung by Shree Anup Jalota.
72] LDER [Little Darling Educational Rhythms] presentation, New Delhi (1999)
- Desh Bhakti Geet - sung by Vandana Bajpai and others.
73]Fountain FMB 509 (2000) - Bharat 2000 - Top 10 Desh Bhakti Geet, Music by
Prasad Ranade. [Various artists]
74] Sagarika (cassettee) 31065 (1998) - 'Swadesh Aamar Swadesh' -
compilation of 14 Bengali patriotic songs - issued by Paschimbanga Rajya
Sangeet Academy and sung by the students of academy.
75] Wings (cassette) - SSDH/WHC (Jan.2000) - 'Saare Jahanse Achha Hindustan
Hamara' - Patriotic songs:side A - sung by Sadhana Sargam, Bipin Sachdeva,
Vinod Rathod and chorus [in same tune sung by Lata Mangeshkar in
'Anandmath'] .
76] Cassettee HMV SPHOS 843255 (8/1999) - Vande Mataram - Tunes of Bengali
patriotic songs - played by Calcutta Cine Musicians Association under the
direction of Pandit V.Balsara - side one - song no.1.[AIR tune].
77] Genious Rabindranath Tagore CD [June 1999] - Bande Mataram [2 minutes
and 40 seconds duration song reissued from Pathe / H.Bose disc (originally
sung by Dr Rabindranath Tagore)]. Recording digitally remastered from
Germany.
A book - ' Rabindranath Tagore : Facets of a genious ' - published by
Director General of All India Radio - CD / cassettee available with this
book.
78] CDNF 154034/35 (1997) - 'Voices of freedom' - sung by Auro Mira choir
group, Shree Aurobindo Ashram. [Also issued on audio cassettee].
*Song sung / telecast, broadcast etc, but not recorded for commercial
release*
1] Pandit Vishnu Digambar Paluskar - in Raga Kafi. Sung at 1923 Kakinada
Congress Convention ignoring the opposition of muslim leaders.
2] Mr Anandbihari Telang - Raga Desh.
3] Mr S.S.Nigani - Raga Bhairavi.
4] Dr Lalmani Mishra - Raga Malkauns.
5] Mr Balwant Bhatta - Raga Sarang.
6] Test records of Mr V.D.Ambhaikar - Three versions recorded (1948). These
are vocal, Instrumental and chorus recordings. Mr Ambhaikar set this song
in many different ragas since his childhood. He sang it to almost all the
great national leaders and at several congress conventions. He spent most
of his life in popularizing these tunes and formed 'Vande Mataram chorus
Party' for this purpose. On the insistence of Dr B.R.Ambedkar he cut three
records and were played to the members of Parliament.
7] Test Records of Master Krishnarao - Chorus and Band. (C.1938)
8] Recording from private program of Master Krishnarao. - first two
stanzas. (C.1952)
9] Recording from private program of Pandit Ram Marathe. (C.1960)
10] Recordings of son of Pandit Shankar Abhyankar. (C.1955)
11] Bengali Film - 'Anand Math' - by Satish Dasgupta, music - Subal Dasgupta
(13th September 1951)
12] Bengali Film - 'Sabuj Dwiper Raaja' - by Tapan Sinha (17th August 1979),
music - Tapan Sinha
13] In a special session of Parliament - on 14th August 1997 - Pandit
Bhimsen Joshi sang first stanza of 'Vande Mataram' in Raga Desh. In the
same session Smt.Lata Mangeshkar concluded the song 'Saare Jahanse Acchha'
by the words 'Vande Mataram'.
14] Pandit Jasraj sang 0n 15th August 1998 in Parliament.
15] Sanskar Bharati Cassette - sung by Smt.Chitra Joshi.
16] Geet Bharati Cassette, Bangalore - full song sung by Mr Shankar
Shanbhag.
17] Ustad Rashid Khan sung Vande Mataram in a concert of classical music
organized by IMG group of St.Xavier's college in Mumbai (1999).
18] Sung by eminent researcher Mr Anant Chakraborty (partly) in an
unpublished audio cassette. This recording was done on 8th May 1990. Tune
is in Raga Mallar as directed in the novel 'Anandmath' by the author
Bankimchandra Chatterjee.
19] Sung by Smt.Sapana Chattopadhyaya in Raga Mallar (as set by Mr
A.Chakraborty) in an unpublished cassette. The song was first sung on the
lawns of Sahitya Samrat Bankimchandra' s ancestral house at Kathalpara,
Naihati, on 8th April 1994 and also on his birthday in 1994. [A copy of
this recording is available with Mr S.K.Chatterjee by courtsey of Mr
Ajitkumar Bhattacharya, Bhatpara,West Bengal]
20] Sung by Shri Jagonmoy Mitra in two different tunes, set by himself in an
unpublished cassette - Courtsey - Shri. Dipankar Chattopadhyaya.
21] Sung by 'Indira Sangeet Shikshayatan' - Akashbani, Calcutta on
12.12.1991 - in the tune set by Late Jyotirindranath Tagore.
22] Every day just after the signature tune Doordarshan plays first stanza
of 'Vande Mataram' along with the telecast visual images.
23] Notation of first two stanzas (in Raga Kafi) - by Pandit Ratanjankar in
the revised version of the book of his compositions.
24] Instrumental: on Naval band - composed in Raga Kafi by Mr
H.V.aliasBapurao Datey, Poona. [Both notation and recording is
available.]
25] Sung by Pandit Vinayakrao Patwardhan for Mr H.V.Datey. [Private
recording available]
26] Renowned dancer Kelucharan Mahapatra presented 'Vande Mataram' ballet in
the Elephanta festival in Mumbai - Feb/March 1999. It is telecast from
video on Indian TV channels occasionally.
27] Pandit Ram Narayan played it on sarangi in one of the music festivals
organised in Mumbai in 1999.
28] Musician Hindukush and Cameraman C.K.S.Rao have released a video
cassettee for the telecast on 15th August 2000. The entire song is included
and is sung by Sadhana Sargam. References 1] Chittaranjan Bandopadhyay,
"Bande Mataram - O -Swadeshi Aandolan", in *Desh*, 1995 (Bengali magazine).
2] Michael Kinnear, *The Gramophone Company's First Indian Recordings*.
3] Discussions with Mr Ajit Kumar Bhattacharya and Mr Dulal Chandra Ghosh.
4] Catalogues, booklets, Records etc. from personal collections.
5] *The Record News* – The Journal of 'Society of Indian Record Collectors',
Mumbai, Vol.27-30 (1998-1999). Ed. Suresh Chandvankar
6] Commercial CDs, cassettes and gramophone records. [record labels, inlay
cards and sleeve notes]
7] Collection of recordings of Vande Mataram - Milind Sabnis, Pune
8] Details sent by Mr Sushanta Kumar Chatterjee, Calcutta. [March 2000]
Suresh Chandvankar - 19.2.03
Hon.Secretary, "Society of Indian Record Collectors
http://www.mustrad.org.uk/articles/mataram.htm
I have read Anand Math several times and here is a summary, which I hope,
answers Mayank's question.
Anandmath begins at an apocalyptic moment. There is a famine in
Bengal—Mahendra Singh, his beautiful wife, Kalyani, and their little
daughter Sukumari, are leaving their ancestral home in Padachina to tread
the broad road to Calcutta. Though Mahendra is a rich landlord, he and his
family are starving. Everywhere men, women, children and cattle are dying of
hunger. Famished and angry, the impoverished villagers have taken to
dacoity. Yet the tax collectors of the Government are unrelenting. Clearly,
the British rule has reduced India to beggary.
Mahendra is separated from his wife and daughter. Mahatma Satya, the master
of Anand Math rescues Kalyani and Sukumari from a group of robbers. Anand
Math is located in deep forest. Bhavan, on Mahatma's behest, brings Mahendra
to the forest. Here Bhavan bursts into the famous song 'Vande Mataram'
Mahendra, astonished to hear such a song, and wondering what mother stands
for remarks, "This refers to a country, and not to a mortal mother." Bhavan
then says that Mother India is their Mother, and all other relationships for
them are non-existant. Hearing these words, Mahendra too joins the song. He
learns that the "Children" (sanyasis of Anand Math) are organising a revolt
against the British to free the "Mother India". Later, Mahatma of Anandmath
Satya, first shows Mahendra a gigantic, imposing, resplendent image of
ancient India. Then he takes him to a second image, where map of India is in
tags and tears, and says, 'This is the what our Mother India is today.' A
sword hangs over this image, which the Mahatma says represnts that British
rule with a sword, and hence India can be freed only by a sword. Lastly he
shows him 'a golden India-bright, beautiful, full of glory and dignity.'
Satya explains that "this is the Mother as she is destined to be".
Mahendra refuses to take the vow of utter devotion to Mother India, which
meant renouncing his wife and child. His wife refusing to be a weakening
factor in her husband's discharge of duties poisons herself. Before Mahendra
could cremate his wife, he and Mahatma are arrested by the British. Jiban,
Mahatma's right hand man, finds Sukumari and entrusts her to the loving care
of his sister. In the process, he meets his wife Shanti, who he had vowed
not to see before his duty is done and to the atonement of both sins. Bhavan
saves the life of Kalyani and becomes entranced by her beauty. Mahendra
thinks that is wife is dead, and eventually gets initiated into the order of
sanyasis. Children rescue Mahatma and Mahendra from the jail, but are
defeated by British forces in a pitched battle, where appears and swords of
sanyasis lose to cannons and guns of British.
Shanti, Jiban's wife, was a woman with a difference. She dressed like boys
throughout her childhood, and had travelled far and wide with a group of
sanyasis. She was both mentally and physically strong and possessed charming
features. She too enters the order, dressed as man to be christened Navin.
But soon after Mahatma finds out her real identity. She convinces him with
her physical strength and demeanour that she would not hamper her husband on
his discharge of duties. Mahendra is sent to Padachina, entrusted with the
task of building a fort there. Mahatma planned that the fort to act as
treasury and factory for manufacturing arms. Shanti is allowed to stay in
Anand Math. Her new role both surprises and pleases Jiban, and she keeps him
away and alert of his duties.
The famine ends, but in absence of living population, dense forests replace
the erstwhile villages. Children are able to entice many hundred followers
into their order. The Children slowly start to gain strength, and defeat
British forces in many minor clashes, looting their arms and treasuries.
Bhavan falls in love with Kalyani, and is willing to break all his vows to
make her his wife. Kalyani shoes him away and he realises that death was his
only his atonement.
The British, under the command of Captain Thomas, attack the children. After
a hard-pitched battle, the Children humble the British. The British were
about to win, when seventeen cannons from Padachina arrive well in time at
the battlefield turning the tide in favor of the Children. Bhavan dies in
this battle. Kalyani, Sukumari and Mahendra, and Jiban and Shanti all
happily reunite at the fort of Padachina. The British, once humbled, now
relaunched a strategic offensive against the Children under the command of
Major Edwards. The British are again defeated, Jiban fights like a
superhero, fighting alone, when his compatriots desert him, succumbs to
multiple injuries and is lost in heaps of dead in battlefield. Shanti finds
him, a mysterious Mahatma heals him and disappears. Jiban role in Service of
Mother ends with this sacrifice. A revived Jiban and Shanti walk away hand
in hand. Singing Vande Mataram, they soon disappear out of sight.
Vande Mataram had hence become the national anthem during the struggle for
freedom. The fact that Rabindranath Tagore's Jana Gana Mana replaced it
after independence, as a concession to Muslim susceptibilities, highlights
the nature of the freedom movement. Anadmath has inspired both the
nationalists and the fundamentalists. Bankim synthesized the Western secular
concept of nationalism with the tradition and needs of Hindus even if he was
thinking in terms of Bengal and not India when he wrote. He enunciated a
specific relationship between culture and power, that certain cultural
values are more advantageous than others in the pursuance of power. Since
these attributes are not congenital characteristics, but the product of
cultural conditioning, they can be developed through the cultivation of
appropriate national-cultural values. To this merit he aroused the cultural
and idealogical identity of Indians, majority of them being Hindus. In this
respect, I believe that whatever comparisons are there between the Hindu
goddesses (Durga, Kali, Lakhshmi or Saraswati) with mother India, they are
meant to enspirit the Indian soul with a devotion towards the diefied
country.
Such a deification of the country as we know was to inspire many millions of
Indians throughout the freedom struggle. Aurobindo himself considered to be
a prophet of Indian nationalism, during his revolutionary phase wanted a
Bharat Mata Mandir to be established in every province of India. These
temples were to be the nucleus of revolutionaries who like Bankim's sanyasis
would dedicate their lives to the freedom of the country. Thus the Indian
revolutionaries, who were an important part of the struggle for freedom,
also derived their inspiration from spirituality and religious sources.
http://www.blog.techjaal.com/www/blogger/2005_07_01_archive.html
vande maataram.h
sujalaaM suphalaaM malayajashiitalaam. h
shasya shyaamalaaM maatara.n .
shubhra jyotsnaa pulakita yaaminiim.h
phulla kusumita drumadalashobhiniim .h ,
suhaasiniiM sumadhura bhaashhiNiim. h .
sukhadaaM varadaaM maataram.h .. vande maataram.h \dots
sapta koTi kaNTha kalakala ninaada karaale
% koTi koTi bhujairdhru. rta kharakaravaale
nisapta koTi bhujairdhruta kharakaravaale
ke bole maa tumii abale
bahubala dhaariNiiM namaami taariNiim.h
ripudalavaariNiiM maataram.h .. vande maataram.h \dots
tumi vidyaa tumi dharma, tumi hR^idi tumi marma
tvaM hi praaNaaH shariire
baahute tumi maa shakti,
hR^idaye tumi maa bhakti,
tomaarai pratimaa gaDi ma.ndire ma.ndire .. vande maataram.h \dots
tvaM hi durgaa dashapraharaNadhaar iNii
kamalaa kamaladala vihaariNii
vaaNii vidyaadaayinii, namaami tvaam.h
namaami kamalaaM amalaaM atulaam.h
sujalaaM suphalaaM maataram.h .. vande maataram.h \dots
shyaamalaaM saralaaM susmitaaM bhuushhitaam. h
dharaNiiM bharaNiiM maataram.h .. vande maataram.h \dots
##
\vfill\eject
\vfill\eject
\medskip\hrule\ medskip
\begin{center}
\bf
Translation by \underline{Shri Aurobindo Ghose}%
\footnote{According to Bhavan's book,
Vande Mataram by Moni Bagchee, (pg. 66),
''Bankin Chandra composed the song in an
inspired moment, Rabindranath sang it by
setting a tune to it and it was left to
the genius of Aurobindo to interpret the
deeper meaning of the song out of which
India received the philosophy of new Nationalism. ''
Shri Aurobindo's birthday was also on 15th of August.}
\end{center}
Mother, I bow to thee!
Rich with thy hurrying streams,
bright with orchard gleams,
Cool with thy winds of delight,
Dark fields waving Mother of might,
Mother free.
Glory of moonlight dreams,
Over thy branches and lordly streams,
Clad in thy blossoming trees,
Mother, giver of ease
Laughing low and sweet!
Mother I kiss thy feet,
Speaker sweet and low!
Mother, to thee I bow.
Who hath said thou art weak in thy lands,
When the sword flesh out in the seventy
million hands
And seventy million voices roar
Thy dreadful name from shore to shore?
With many strengths who art mighty and
stored,
To thee I call Mother and Lord!
Though who savest, arise and save!
To her I cry who ever her foeman drove
Back from plain and Sea
And shook herself free.
Thou art wisdom, thou art law,
Thou art heart, our soul, our breath
Though art love divine, the awe
In our hearts that conquers death.
Thine the strength that nervs the arm,
Thine the beauty, thine the charm.
Every image made divine
In our temples is but thine.
Thou art Durga, Lady and Queen,
With her hands that strike and her
swords of sheen,
Thou art Lakshmi lotus-throned,
And the Muse a hundred-toned,
Pure and perfect without peer,
Mother lend thine ear,
Rich with thy hurrying streams,
Bright with thy orchard gleems,
Dark of hue O candid-fair
In thy soul, with jewelled hair
And thy glorious smile divine,
Lovilest of all earthly lands,
Showering wealth from well-stored hands!
Mother, mother mine!
Mother sweet, I bow to thee,
Mother great and free!
% Credits: Ajay Shah from
% http://rbhatnagar.csm.uc.edu:8080/hindu_universe.html
%
\medskip\hrule\ medskip
\vfill\eject
\begin{center}
\bf
Another independent attempt of English %
translation by Keshab Bhattarai\footnote{ Please provide corrections to %
kbhattar@lynx. dac.neu.edu}
% Corrections by Vidyanath Rao
\end{center}
\medskip
Salutations (to you), oh Mother!
\medskip
(You are blessed with) Richness in water
resources, plenty of fruits (and forest
resources), flushed with cool air breezing
from Malaya mountains;
Green with rice plants o ! our motherland
Salutations (to you), oh Mother!
\medskip
Where nights are made joyous by sparkling light
very beautiful by buds-flowers- and rows of trees
Always looking pleasant, sweet speaking
giver of happiness and riches
o! our motherland!
Salutations (to you), oh Mother!
\medskip
Seventy million voices are heard (praising you) in "kalakala" sound
many million hands have taken swords (for your protection)
How can I say that you are a helpless woman?
I pray (to you), oh savier mother adorned
with strength, the destroyer of enemies.
Salutations (to you), oh Mother!
\medskip
You are embodiment of wisdom, virtues
(religion), love, and the essence (of everything).
You are certainly the life force in (our) bodies.
Oh Mother, you are strength in (our) arms,
Oh Mother, you are devotion in (our) hearts,
Your (sacred) image is in every temple
Salutations (to you), oh Mother!
\medskip
You are indeed the ten-handed "Durga" goddess,
you are the goddess of wealth, Kamala or
Laxmi, residing on the lotus,
you are the bestower of (power of) speech and
knowledge - Goddess Saraswati, I pray to you.
I salute you oh pure unmatched Goddess Kamalaa.
You are blessed with water resources,
blessed with plenty of fruits,
Salutations (to you), oh Mother!
\medskip
You are peaceful, kind, pleasant, and beautiful.
Oh Mother earth, nourisher, salutations.
Salutations (to you), oh Mother! Vande Mataram.
Excerpts from ''Story of a Song: Ecstacy and Agony'' by Shivaramu
%Credits: Dinesh Agrawal ( DX...@psuvm.psu. edu)
\centerline{ \bf Part 1}
\leftline{\underlin e{GENESIS OF JANAGANAMANA: }}
W.B. Yeats is a great Irish poet. He was a friend of Tagore's, and a great
admirer of his works. He wrote a beautiful introduction to Tagore's
Gitanjali. Once an Indian disciple of Tagore met Yeats. In a letter to Lady
Gregory in America, Yeats mentioned that he had told him that Sarojini
Naidu's brother was unhappy that Tagore wrote a poem welcoming King George
V. He also narrated to her an appetising story he had from the disciple
warning her that it was
strictly off the record. It concerns the circumstances in which Janaganamana
was composed: ''The National Congress people asked Tagore for a poem of
welcome. He tried to write it, but could not. He got up very early in the
morning and wrote a very beautiful poem, not one of his best, but still
beautiful. When he came down, he said to one of us, 'Here is a poem which I
have written. It is
addressed to God, but give it to Congress people. It will please them. They
will think it is addressed to the King.' All Tagore's own followers knew it
meant God, but others did not.'' (The Indian Express, June 3, 1968)
The Calcutta Congress session began on December 26, 1911. The
proceedings on the first day began with Vandemataram. The second day was
entirely devoted to things connected with the welcoming of King George V,
and this day the song Janaganamana was sung, and at the closing ceremony
Rajbhuja Dutt Choudhary's
'Badshah Hamara' was sung. On the third day Saraladevi sang her own
composition 'Namo Hindustan'.
The news papers reports had the following comments on Janaganaman:
''The Bengali poet Babu Rabindranath Tagore sang a song composed by him
specially to welcome the Emperor.'' (Statesman, Dec.28, 1911)
''The proceedings began with the singing by Babu Rabindranath Tagore of a
song specially composed by him in honour of the Emperor.'' (Englishman,
Dec.28).
''When the proceedings of the Indian National Congress began on Wednesday
27th December 1911, a Bengali song in welcome of the Emperor was sung. A
resolution welcoming the Emperor and Empress was also adopted
unanomously. '' (Indian, Dec. 29, 1911)
In the eyes of many leaders of the day, loyalty to the nation and loyalty
to the Emperor were identical. King George V had proclaimed on Dec.12 the
annulment of the partition of Bengal. There was therefore nothing unnatural
or extraordinary in a Bengali poet, Rabindranath Tagore, composing or
singing a song in praise of the Emperor out of gratitude. But differences of
opinion were bound to arise when the question of its adoption as the
national anthem
came up. The choice of a national anthem should undoubtedly be one which can
be a fountain of inspiration by the sanctity of its origin.
Rabindranath Tagore did not contradict newspaper reports which
characterised Janaganamana as a song composed in honour of King George V.
Gradually the tide of nationalism began to affect the old values. Loyalty to
the country and loyalty to the King became irreconcilable. Honour, devotion
and love of the country not only ceased to co-exist with honour, devotion
and love of King Emperor, but mutually antagonistic.
Also the British government which was charging people with sedition for
singing Vande Mataram extended high regard to Janaganamana. It was sung in
Government schools, and in scout groups which fostered loyalty to the
British throne. At the time British quit India, a fighter plane was
presented by England to India, and on this occasion Janaganamana was sung.
The British also praised the song. It is anybody's guess as to why they
praised it?
\leftline{\underlin e{ACCEPTENCE AS NATIONAL ANTHEM}}
January 26, 1950 was set for the Indian Republic. The national anthem was
to be chosen before the election of the President. The objection advanced
Vandemataram was that unlike Janaganamana it did not suit band music, but
Master Krishna Rao had solved the difficulty. He had given a demonstration
before the members of the Constituent Assembly who had to decide the issue.
Moreover, there was generous appreciation from experts in Bombay, both
official
and professional. It was therefore expected, that unless the technical
objection was a mere facade, the Constituent Assembly would adopt Vande
Mataramas the national anthem. The Government's objections having been
disproved, the nation heaved a sigh of relief.
Mahatma Gandhi wanted Vande Mataram to be our national anthem. The song
was invariably sung at his prayer meetings. After Vande Matram was sung on
August 29, 1947, Gandhi ji said, ''Vande Matram should be set to music so
that millions can sing it together, and feel the thrill. They should all
sing in the same raga, with the same bhava. Shantiniketan or some other
competent
institution should design an acceptable raga.'' This wish of Gandhi ji was
fulfilled through Master Krishni Rao's craftmanship.
After this time, the whole of Bengal, under the leadership of its
Premier Dr B. C. Roy, took up the campaign in favour of Vande Mataram.
In view of this background, the possibility of the members of the
Constit-uent Assembly, inspired by sentiments of patriotism, adopting Vande
Mataram as the national anthem was indeed strong. But things were happening
behind the scene.
\centerline{ \bf Part 2}
\leftline{\underlin e{AND THE CONTROVERSY STARTED}}
Pt. Vishnu Digambar Paluskar founded the Gandharva Mahavidhyalaya. A
well-known musician, he was also a proud patriot. He brought into vogue the
tradition of singing national songs at public functions. In the dawn of the
Swedeshi movement, he started the tradition of singing Vande Mataram in
Lahore, and carried it to different parts of the country. He commanded not
only
immense scholarship, but a magnetic personality and a wonderful voice. He
was regarded with great respect by the national leaders of the freedom
movement. It was their desire that he should sing Vande Mataram at the
commencement of every Congress session. Paluskar attended Congress session,
year after year, since 1915, and his performance captured the hearts of
delegates.
In 1923 the Congress session was held at Kakinada, which is now in
Andhra Pradesh. As usual Paluskar was invited to it. He rose to sing Vande
Mataram. Maulana Mohamed Ali was the President of the Congress that year.
''When Vishnu Digambar rose to sing Vande Mataram in conformity with
tradition, Maulana Saheb raised an objection on the ground that music was
taboo to his religion. The leaders assembled were completely bewildered.
Vishnu Digambar was incensed, and hit back: 'This is a national forum, not
the plateform of any single community. This is no mosque to object to music.
There is no justification for a ban on music here. When the President could
put up with the music in the presidential procession, why does he object to
it here?' Having silenced the President, without waiting for his reply, he
proceeded to sing Vande Mataram and completed it. Respect for his sense of
national pride and love of the motherland grew. The people admired his
moral courage, and applauded him heartily.'' (Vishnu Digambar Paluskar,
National Book Trust, p.54)
It came as a great shock to the people that Maulana Md. Ali should
object the singing of Vande Mataram. There was no doubt that this was an
indication of a mentality of separatism which refused to identify itself
with the main-stream of national life. But this episode did little damage
either to the greatness or the popularity of the song. Mahatma Gandhi
repeatedly referred to the virtues of this national anthem. ''When we sing
that ode to the mother-land, Bande Mataram, we sing it to the whole of
India.'' (Kesari January 1924)
The opposition of Muslim League to Vande Mataram, however, continued to
wax and they started putting pressure on Congress leadership against the
singing of this song. It was the height of irony on the part of the Muslim
League, which was bent upon breaking the unity of India, emotionally,
geographically, and in all other ways, to express its concern about 'the
growth of genuine natinalism'. Those in Congress who were eager to pander to
every slightest
wish of the League were agitated, and a feeling developed that unless ML is
dissatisfied and it was won over the unity of the country would be
imperilled.In such a situation CWC in 1937 decided to maim and curtail the
national song.
The CWC appointed a sub-committee with Maulana Azad, Nehru, Subhash
Chandra Bose and Acharya Narendra Dev as members to review the eligibility
of VM to the status of national anthem. The committee was to take the
guidance of Rabindranath Tagore. And this sub-committee endorsed the CWC's
resolution to adopt VM in its truncated form as the national anthem:
''Anandmath was the story of a heroic struggle against foreign rule.
Because it happened to be a Muslim rule, a fresh objection was raised.
Bankim'sobject was to arouse through his novels a patriotic awakening among
the people so that they became consious of their slavery under the British.
He couldn't do it overtly, but his fiction achieved the purpose. The
revolutinaries of Bengal accepted it in this spirit in the early part of the
century; it bacame
the mantra of those who mounted the gallows in a bid to emanicipate the
country from alien bondage...The Congress, however, in order to conciliate
the Muslims, mutilated the song and ordered that only first two stanzas of
it should be sung.'' (Muslim Politics, S. Mukherjee, p.53)
But Muslim League continued its campaign to dethrone even the first two
stanzas of the VM. In the lagislative assemblies they would boycott the
singing of the song or raise point of orders or bring adjournment motions
etc. and would make a plea that 'singing of VM is a declaration of war on
Islam.' To appease them in Madras assembly from January 28, 1938, the
practice of reciting >from the Qiran and a prayer in English was also
introduced. But ML was not
satisfied, it continued to demand the deletion of VM from national movement,
and to this effect it passed a resolution (Pirpur Report, Nov.15, 1938)
which listed numerous grievences of the Muslims, VM song had topped the
list.
\centerline{ \bf Part 3}
\leftline{\underlin e{AFTER INDEPENDENCE, }}
\leftline{\underlin e{\ \ \ \ \ \ THE CONTOVERSY CONTINUED}}
In GOI's publication (Our National Songs), it is said that experts were
of the view that Vande Mataram lacked rhythm and movement. Of course they
were official experts, and remain unidentified. In their opinion the
essential qualification of a national anthem is 'tal' (beat) and hence
recommeded Janaganamana.
Mahatama Gandhi called Janaganamana a religious hymn, not the national
anthem, but he characterised numerous times Vandemataram as the national
anthem.
About Janaganamana, Humayun Kabir agrees with the view expressed by
Gandhiji. ''In a sense it is more a religious hymn for all mankind than a
national anthem for any country.'' (Rabindaranath Tagore, a Centenary
Vol.p.152)
And let us see what are the sentiments expressed by many about VM:
Vandemataram was an _expression of nationalism, its very soul, and therefore
the natinal anthem. It quickly spread throughout India, and was on the lips
of millions as the national anthem. (Maharishi Aurobind in 'Mahayogi' p.47)
''The greatest and most enduring gift of the swedeshi movement was Vande
Mataram, the uncrowned national anthem.'' (The Cambridge History of India,
Vol.IV, p.608)
''Bankim Chandra Chatterjee's poem Vande Mataram first appeared in his
novel Anandamath in 1882, and soon became the Merseillaise of the
nationalist movement throughout India.'' (A Book of India, B.N. Pande, p.67)
''Bande Mataram: A song which occurs in Bankim Chatterjee's novel. The
song was quite popular during nationalist agitations in the early part of
this century in Bengal. Subsequently it became a kind of unofficial national
anthem.'' (Nehru, The first sixty years, Vol.II, p.577)
''Vandemataram, which at the beginning of the 20th century became the
anthem of the Indian nationalist movement, is the motherland personified. ''
(Tilak and the Struggle for Indian Freedom, p.253 )
''Vande Mataram! These are the magic words which will open the door of
his iron safe, break through the walls of his strong room, and confound the
hearts of those who are disloyal to its call to say Vande Mataram.''
(Rabindranath Tagore in Glorious Thoughts of Tagore, p.165)
Therefore, it was the natural expectation that this great national anthem
would continue as the official national anthem of India. It was used in the
Constituent assembly, and was sung by Smt. Sucheta Kriplani. But soon a
discordant note began to be heard. Much to the surprise of its own members,
the Constituent assembly deferred the question of adopting the national
anthem again and again. Who were behind the controversy and what were their
motives?The following excerpt from Pt. Nehru's statement on this issue may
provide some clue:
''It is unfortunate that some kind of argument has arisen between VM and
Jana. VM is obviously and indisputedly the premier national song of India,
with a great historical tradition and intimately connected with our struggle
for freedom. That position it is bound to retain and no other song can
displace it. It represents the passion and poignancy of that struggle but
perhaps not so much the culmination of it. In regard to the national anthem
tune, it was
felt that the tune was more important than the words, and this tune should
be such as to represent the Indian musical genius as well as to some extent
the Western, so that it might easily be adapted to orchestra and band music,
and to playing abroad. The real significance of the national anthem is
perhaps more abroad than in the home country. Past experience has shown
that Janagana
tune has been greatly appreciated and admired abroad...VM with all its very
great attraction and historical background, was not easily suitable for
orchastras in foreign countries.. It seemed therefore that while VM should
continue to be the national song par excellence in India, the national
anthem tune should be that of Janaganamana, and the wording of Janagana be
altered suitably to fit in with existing circumstances. '' (Glorious
Thoughts of Nehru,
p.139)
The above rational and criteria for selecting a national anthem coming
from the PM, had shocked the people of India. These ideas of Nehru's were
severly criticised in the press and in other forums universally. The gallup
polls conducted by some organizations on this issue showed that 95% people
favored VM as the national anthem.
''When the objection was raised to the adoption of VM as the national
anthem on the ground that it was full of idolatry, Aurobindo said Durga to
whom it paid homage was none other than Bharata Mata symbolising Knowledge,
Power, Greatness and Glory.'' (Resurgent India, p.191)
The charge that VM cannot be set to the tune to suit band and foreign
orchestra was disproved when it was set to melodious tune by an ace musician
Master Krishna Rao, but Nehru ji did not budge. And Dr Rajendra Prasad who
was presiding the Constituent assembly on 24 January 1950 made the following
statement which also became the final decision on this issue:
''The composition consisting of words and music known as Janaganamana is
the National Anthem of India, subject to such alterations as the Government
may authorise as occasion arises, and the song Vande Mataram, which has
played a historic part in the struggle for Indian freedom, shall be honored
equally with Janaganamana and shall have equal status with it. (Applause) I
hope this will satify members.'' (Constituent Assembly of India, Vil.XII,
24-1-1950)
\centerline{ \bf Part 4}
\leftline{\underlin e{HOW WAS THE SONG COMPOSED?}}
It is true that Vande Mataram blossomed forth in Anandamath, but it is
even more true that it was Bankim's intention that it should blossom forth
beyond Anandamath. For Vande Mataram, the song, was composed before
Anandamath was written.
How Bankim saw the wonderful vision that worked as a most powerful
spiritual lever in the movement for his country's liberation, how he
immortalised that vision in the hymn are not fully known. But this much is
known that one auspicious moment arrived, in 1875, when Bankim took a
holiday to escape from the hectic life of Calcutta. He boarded a train bound
for his native town Kantalapada. As the city left behind, there was greenry
all around and his heart filled with joy. The contemplation of the
motherland with her rich rivers, flowers, fruits and forests sent a
pulsating current through Bankim.In that instant the sod was turned into
divinity by magic. His eyes and ears became alert, hungry. His inner eye
beheld the motherland in all her rich variety and beauty; his inner ear
listened to voices from the earth, the air and the sky. And Nature begot her
song! She gave it to benevolent Bankim! He bowed and received the gift. And
then he reduced it to writing, as one who saw and heard the whole of it...
The song was born, Bankim put the infant in the cradle of Anandamath. He
knew the great promise of the infant. The prophet was aware of the historic
role it would play in times to come.
\centerline{ \bf Part 5}
\leftline{\underlin e{HOW THE SONG VANDEMATARAM GETS}}
\leftline{\underlin e{INCORPORATED IN THE ANANDAMATH?} }
At the beginning of this novel:
A human voice breaks the midnight silence of a dark, dense forest:
''Will not my desire be fulfilled?''
''What price are you prepared to pay for it?'' The counter-question was the
answer.
''My life, and all that is mine.''
''Your life is not of much moment; anyone can sacrifice it.''
''What else can I offer? Name the price.''
''Devotion!' '
Holding life cheap, banishing the fear of death, devotion illumines the
frontiers of the human mind in a sudden upsurge. The center of such devotion
is Mother, the symbol of the Motherland! That was the premises on which the
song Vandemataram gets incorporated in the novel.
A description of this Motherland occurs in Chapter 10:
Bhavananda is in a different mood. He is no more a sanaysin, bold and
inflexible. He is no more the ruthless general of the army. He isn't the
arrogant man who a moment ago had humbled Mahendra. Amid the beauty of the
land and water bathed in moonlight, his mind dances like an ocean in tide at
the sight of the moon. Bhavananda turns gay and eager for friendly
conversation. He is eager to talk. He makes many attempts to talk, but
Mahendra does not respond.
And then Bhavananda begins to sing for himself:
{\obeylines
Vande Mataram
Sujalam Suphalam
Malayaja Sheetalam
Mataram!
}
He sings with all his heart and soul, with great devotion, and his masculine
voice, so pleasing to the ear, echoes and re-echoes, and filling the whole
horizon with its resonance, creates an indescribable atmosphere.. .
Mahendra hears the song and is amazed. He cannot understand it. He asks who
is the Mother, fed by rivers, fruit-bearing treas and fanned by the cool
breeze of the mountains.
Bhavananda does not seem to pay attention to the question. He is immersed in
the song. Without pausing to answer him, he continues:
{\obeylines
Shubhrajyotsna pulakitayamineem
Phullakusumita drumadala shobhineem
....
....
}
Mahendra at first thinks that it may be an invocation to Durga. And then he
feels it could not be. It is a description of the country, not of the
Goddess Durga. At that point Bhavananda wants to speak. The meaning of the
song, and the way of his life, were not different. He explains it: ''We do
not accept any other Mother. Jananee Janambhoomishcha swargadapi gariyasi.
The motherland is our Mother; apart from her we have no mother, father,
brothers, wife or children, home of personal life; sujala, suphala, malayaja
sheetalam, that is all we have.''
And then Mahendra understands the import of the song. He asks Bhavananda to
continue the song. And as he sings tears roll down his cheeks...
And a new inspiration overcomes him. And now he is new person!
This is how other characters of the story get inspired and united.
The sublime characters which take part in the great story of Anandmath and
grow up in elevating atmosphere display not only patriotism of a high order,
but also the terrific strength of the sinews. They are living sparks which
in the face of humiliation, burst into flames. They carry their love of the
motherland into action. Koti koti kantha kalakala ninada karale! Koti koti
bhujairdhruta kharakaravale! These lines are then witnessed in earth-shaking
events.
Individuals are mere tools.
The saga of the struggle and sacrifices of the heroes and martyres of
freedom is nothing but a manifestation of the unconquerable will of the
great Mother who inspired the saint and prophet Bankim to write Anandamath
and give unto us Vande Mataram, the hymn of Liberty!
http://sanskrit.gde.to/doc_z_misc_general/vande.itx
http://www.tourindia.com/htm/vandev.wav
*Download:* http://intervalsignals.net/files/ind-air_regional_100100.ram
*Source:* http://intervalsignals.net/countries/india.htm (AIR) Salute to the
National Anthem! Salut au Hymne National! Gruß zur Nationalen Hymne! Saluto
al Anthem Nazionale! Begroeting aan de Nationale Hymne! Saludo al Himno
Nacional! Saudação ao Hino Nacional! Χαιρετισμός στον εθνικό ύμνο! Салют к
государственныйа гимн! 向國歌致敬! 向国歌致敬! 国歌への挨拶! 국가에 인사!
http://www.sawf.org/audio/des/vandemataram_des.ram
AR Rehman (Bharat Bala) version:
http://youtube.com/watch?v=s1UgUpKz3Lc&search=Vande%20Mataram
End of forwarded message from "k" <kaly...@gmail.com>
Jai Maharaj
http://tinyurl.com/a5ljc
http://www.mantra.com/jai
Om Shanti
Hindu Holocaust Museum
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http://www.flex.com/~jai/satyamevajayate
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