SCIM: Re: A Tale of Two Marathi Songs
imppio
It is a wonderful story. Thanks for posting it. I am cross-posting it to
soc.culture.indian.marathi group also.
cheers,
imppio
"Ajay Nerurkar" <ajayne...@yahoo1729.com> wrote in message
news:PI15a.917$qv2.22...@newssvr14.news.prodigy.com...
> This is the story of how two much-loved Marathi songs came to be
> recorded, as narrated by Shrinivas Khale to Vishwas Nerurkar (no
> relation). My English translation is fairly faithful to the original;
> I have, however, taken the liberty of rewriting parts of it in
> dialogue form. (P=Potnis, SK=Shrinivas Khale, SP=Sudhir Phadke,
> GM=Ga.Di. Madgulkar, RG=Ram Gabale)
>
> The songs
>
> gorigoripaan phulaasaarkhi chhaan
> daadaa malaa eka vahini aaN
>
> and
>
> ekaa taLyaata hoti badke pile surekha
> hote kurupa veDe pillu tayaata eka
>
> written by Ga. Di. Madgulkar, were music director Shrinivas Khale's
> first commercial releases, and made him part of the popular
> consciousness. The delightful singing of Asha Bhosale cannot be
> adequately captured in words, so I won't try. The audio is available
> online. "ekaa taLyaata hoti" is available at http://www.gadima.com
> under Baalgeete. Registration is required, but is free. "gorigoripaan"
> can be found at http://www.musicindiaonline.com/music/l/030801 .
>
> Ajay
>
> ------------------------------------------------------------------------
>
>
> I think it was the October of 1950. At that time, I used to compose
> songs for Akashwani Badoda and also work as assistant to composer
> K. Datta. A friend, Shri Potnis, who liked my work once asked
> me, "Khale, I am thinking of making a movie, would you do the music
> for it?" I was on the lookout for such a break anyway and immediately
> gave my assent. He went on, "The story is Madgulkar's. The screenplay,
> dialogues and lyrics will also be by him." I was quite pleased,
> because Madgulkar was a big name, and I was lucky to get the chance to
> work with such a renowned and talented poet in my very first film.
>
> About eight days after this conversation, Potnis came to see me
> again. He said, "Khale, there is a problem. Madgulkar is not willing
> to give us the lyrics. He told me, 'I am writing the story,
> screenplay, and dialogues for this film; Ram Gabale is directing it;
> Sulochana and Vivek are starring in it. Shrinivas Khale doesn't quite
> fit in. Please hire someone else.'" Potnis, however, told Gadima that
> he wouldn't do any such thing.
>
> GM: Please think again. This man, Shrinivas Khale, is a complete
> unknown. Your film is going to be an expensive project and you don't
> need to take this risk.
>
> But Potnis remained adamant.
>
> GM: Why do you insist on having Khale as the music director?
> P: I have been familiar with his work for the past many years. His
> music is different, and I am certain he will give great music for this
> film."
> GM: If this is your position, I won't give you my songs. Get someone
> else to write them for you.
> P: Okay, I'll ask Shanta Shelke!
>
> After listening to this exchange I said to Potnis, "Gadima is
> right. This is your first movie too, so you would be better off
> working with Madgulkar and a music director who is renowned. My only
> regret is he judged my work without having heard any of it and solely
> on the basis of the fact that I am not well-known. Potnis calmly
> listened to what I said and then remarked, "You will write the songs
> for this movie. We'll deal with the consequences later."
>
> About two weeks after that I was called to Rambhau Gabale's office. I
> went. Rambhau asked me, "Have you ever composed music before?" I told
> him that I was composing for AIR Badoda since 1945. Rambhau then
> expressed the desire to hear some of my work, to which I readily
> agreed. I said, "I am ready to perform my compositions for you at your
> convenience."
>
> Later one Saturday evening, Rambhau came over. For nearly four hours I
> played selections from my work, in various languages. After listening
> to this demonstration, Rambhau said, "Khale, one thing's now certain;
> you will give the music for this film. Your style is different from
> the norm; don't worry, I'll convince Madgulkar. A few days later,
> Rambhau called me to Baburao Pai's studio on Cadell Road and gave me
> four poems by Gadima. Among them were "gorigoripaan, phulaasaarkhi
> chhaan" and "ekaa taLyaata hotee, badke pile surekha". The other two
> were abhangs. I couldn't wait to set them to music. One night is all
> it took for me to come up with tunes for all four of them. I've always
> felt that just as each word has a particular meaning, it has a sur
> associated with it. And when you look at a word, the corresponding sur
> automatically suggests itself. Gadima's heavenly poetry inspired
> melody almost immediately. The next day, at about 11:00 in the
> morning, Ram Gabale dropped by. He said, "I was in the area, and
> thought I might check in with you." I told him that the songs were
> ready.
>
> RG: I don't want to listen to anything done in a hurry. Take as much
> time as needed.
> SK: Rambhau, why don't you let me play them first? I will modify
> the tunes if they don't meet with your approval.
> RG: Okay, get out the harmonium.
>
> After listening to what I played for him, I enquired, "So, are any
> changes needed?". He replied, "Khale, I am not as ignorant
> about music as you think. Your tunes are outstanding; there is
> absolutely no need to alter them in any way."
>
> Four or five days after this, an assistant of Rambhau brought a
> message for me. I was called to Rambhau's office to meet Gadima. I
> went there and Gadima arrived after some time. Rambhau introduced
> us. Right away Gadima asked me in Hindi, "Are you some sort of
> magician? At first, Potnis was full of praise for you. Now even Ram
> has become your ardent admirer." I replied, "But I would like you to
> listen to the songs too."
>
> GM: What do I know about music?
> RG: Then why did you object to him?
>
> Gadima fumbled for words but then said, "Don't say that. He might
> misunderstand."
>
> SK: There is no possibility of that. But I would still like you to
> listen to them.
> RG: Okay, then let's do it today.
> SK: Alright then. I'll get going. Come over to my place after you are
> finished here.
> GM: Let's listen to them at Babuji's (Sudhir Phadke's) home.
>
> Gadima was attempting to put me under pressure.
>
> RG: Khale, do you mind?
> SK: Not at all.
> RG: And as long as you are meeting Babuji, why don't you run by him
> your tunes for the two abhangs?
>
> Actually, I did not know Phadke personally at this point. Even so, I
> went to his house. Babuji enquired about the purpose of my visit.
>
> SK: Rambhau has asked me to consult with you about a couple of
> abhangs.
> SP: Then let's get to work.
>
> The first abhang took nearly an hour and a half. After it was done, I
> asked Babuji, "Should we start on the second one?"
>
> SP: Let's get this one absolutely right first. Your style is quite
> distinct. You have made it too difficult from the laya angle.
> SK: I have just tried to do my best. Okay, let us work on the other
> abhang later. I'll take your leave now.
>
> As I got up to leave, Babuji said, "Khale, Rambhau was saying that the
> songs you've composed for Asha are excellent. If you don't mind, can I
> hear them?" "Of course!" I replied.
>
> I sat down and played "ekaa taLyaata" and "gorigoripaan" on the
> harmonium. After I was finished he said, "I have had the satisfaction,
> after a very long time, of listening to something so novel". By this
> time, Rambhau and Gadima had arrived too. Babuji was surprised to see
> them.
>
> SP: What brings the two of you here?
> GM: Didn't Khale tell you? We have come to listen to his songs.
> SP: You have come to listen to his songs! They are wonderful, just
> wonderful!
> GM: This man definitely has some kind of magical powers. Now, Babuji
> too has become his devotee. I *have* to listen to his songs.
>
> After I played the songs for him, he immediately rose and hugged me
> tightly.
>
> GM: KhaleAnna, you've done a marvellous job. You've transmuted the
> base metal of my poetry into the gold of your song.
> SK: Anna, don't take it the wrong way, but I was hurt by what you said
> about me. Everyone can't be Sudhir Phadke, but it's wrong to
> assume that just because someone isn't famous they are no good.
> GM: Agreed. I admit I let your lack of fame colour my opinion of you.
>
> After that Anna and I became very close. Potnis' movie was titled
> "lakshmipujan". As work on it gained momentum, Rambhau told me to get
> Asha to rehearse those songs. I did. This process took nearly a
> month. I was ready to record them and so asked Potnis which studio
> I could use for this purpose. He said, "Wait a little. There is some
> problem with the money." But he could not make the necessary financial
> arrangements and consequently sold the script to Prabhat's Kelkar who
> changed the film's name to "sukhaache sobatee" and signed Vasant Pawar
> to do the music. Consoling myself with the thought that it wasn't
> meant to be, I moved on.
>
> About two months after this, I ran into Anna. "So, did you record the
> songs?", he asked. I told him everything that had happened.
>
> GM: Your tunes were marvellous. Why don't you ask HMV to record them
> anyway?
> SK: I won't get the time of day from anyone at HMV.
> GM: I'll refer you to someone there.
>
> Accordingly, I went to the HMV studios to meet the executive Gadima
> referred me to. He asked me to wait outside saying he would summon me
> once he was free. I was still there at 5:30 in the evening when he saw
> me as he was leaving for the day. "You are still waiting here? Why
> didn't you come in and meet me?", he asked. I answered, "Well, I was
> waiting for you to send for me." He then told me to come back in a
> couple of days. But the next time I went there he was too busy to
> listen to my songs and I was told to come some other time.
>
> When I informed Anna of these events, he said, "I'll write a note for
> you. Take it with you." I went back to HMV and presented the note to
> that official. Upon reading it, he demanded to know, "Why didn't you
> tell me before that Madgulkar has written the songs?" I replied, "You
> hardly had the time to talk to me. When was I going to tell you
> this?". He said, "Okay, let's listen to those songs." After listening
> to them, he opined, "gori goripaan is okay. But the other song --
> about those ducks and frogs and what not -- what kind of a song is
> that? Please get it rewritten." I realised the futility of trying to
> reason with this individual. I went straight to Anna.
>
> GM: What happened?
> SK: Anna, what's wrong with you? The songs you write! Ducks, frogs,
> who's going to record such songs?
> GM: Who said this?
>
> I told him what took place at HMV. Anna remarked, "What do they know
> about music or poetry?". He called the HMV executive and asked him to
> come see him the very next day. He also invited me to join them.
>
> When I went the next day, the executive was already there. He was
> startled to see me. Anna asked him, "So, who was that who remarked
> about my poetic treatment of aquatic life?" He understood what Anna
> was referring to. He tried to laugh it off saying, "It looks like he
> told you this. I was only joking and clearly he did not get the
> joke. Who am I to criticise a poet of your stature! The songs are
> great!" Anna came straight to the point. "Tell me when you can record
> them," he told him. After this, events began to move rather
> rapidly. Asha and I rehearsed the songs again. Asha had liked them
> very much. She is a very intelligent singer and picks up any song with
> effortless ease -- that's her forte. I couldn't be happier that such a
> singer was recording my first commercial release. The record became
> very popular; and this created a fresh problem.
>
> Of these songs, "ekaa talyaat hotee" was also used by Prabhat's Kelkar
> for his "sukhaache sobatee". It was sung by Madhubala Jhaveri. Seeing
> our record attaining popularity, Kelkar sent HMV a notice. I told Anna
> about this new development. He told me not to worry saying he would
> talk to Kelkar. He did and brought the matter to a close. Anna was
> extremely happy with me because the songs were literally
> everywhere. He said to me, "Khale, you have made me a household name
> with your tune for "gorigoripaan". Noone can compose children's songs
> like you can."
>
> Thinking back to those days today, it seems to me that everything
> happens for the best. If those songs had been used in a movie, I doubt
> they would be as popular. As bhaavgeets, they became an integral part
> of every person's emotional universe. Recorded in 1952, they are now
> fifty years old but their popularity remains undiminished. Even today,
> I get requests for them during the musical programme I present --
> "Shrinivas Khale Sangeet Rajani".
>
>
>
imppio
"Ajay Nerurkar" <ajayne...@yahoo1729.com> wrote in message
news:yT85a.2438$Dm.415...@newssvr13.news.prodigy.com...
> Notes
>
> 1. To access these songs at http://www.gadima.com click on "mantarlele
> chaitraban", log in and then click on "baalageete". The Madhubala Jhaveri
> version of "ekaa taLyaata hoti" is also available.
>
> 2. gadima is pronounced gadimaa.
>
> 3. "ekaa taLyaata hoti" is a poetic rendition of the ugly duckling story.
>
>
> Ajay
>
>
>