Phalguni

Call Directions Website Contact the business

Phalguni Chancellor at Brainware University, Chairman and Managing Director at Brainware Group Of Institutions

21/10/2026

In the 1970s, when Kishore Kumar was one of the busiest singers in Hindi cinema, he continued to record Bengali songs regularly. In Bengali music, he was not only a playback singer, but also composed melodies in his own distinctive way. “Noyono Soroshi Keno Bhorechhe Jole” was one such Bengali modern song.
The lyrics were written by Mukul Dutta, while Kishore Kumar composed the music himself. It was a non-film song and was first released during the Puja season in 1973. The song was warmly received by listeners. It was later included in the 1979 HMV LP “Kishore Kumar Bengali Modern Songs”. Here, we discover a very different side of Kishore Kumar’s familiar voice. We often associate him with lively, playful and humorous songs, but in this song the same artist appears in a much calmer, slower and more sensitive form. The melody he composed is not overly complex either. Instead, it is shaped with simplicity, keeping the emotional quality of the lyrics at its centre.
With words by Mukul Dutta, music by Kishore Kumar and his own voice, “Noyono Soroshi Keno Bhorechhe Jole” remains a memorable creation in the history of Bengali modern songs.

20/10/2026

The partnership of Hemanta Mukhopadhyay and Salil Chowdhury holds a special place in the history of Bengali modern music. Their relationship, however, was not always the same. At one stage, a certain distance developed between them. Differences in creative approach, professional commitments and some personal disagreements meant that they no longer worked together as regularly as they once had.
In his memoir-based writings, Salil Chowdhury referred to those years of working with Hemanta. After a long interval, as the distance between them gradually began to lessen, they started working together again. It was during this renewed phase of collaboration that “Shono Kono Ekdin” was created. Salil Chowdhury’s memoir, “Ami, Hemanta, Aar Gananatyer Sei Dingulo Ebong Kichhu Smriti”, mentions that the song was recorded in 1967. After being recorded, it was released on September 1, 1969 as a Sharadiya release.
At the time, releasing new songs for Puja was a special tradition in Bengali music. New songs meant a particular kind of anticipation and excitement among listeners in the weeks leading up to the festival. “Shono Kono Ekdin” reached its audience as part of that very tradition.

19/10/2026

Pulak Bandyopadhyay was one of the well-known lyricists of Bengali modern songs in the 1960s. He was a devoted supporter of Mohun Bagan and regularly went to the ground to watch matches. According to a published memoir about him, one day, while watching a Mohun Bagan match, he began writing something on a piece of paper during the interval, sitting right there at the ground. Ratu Mukhopadhyay later set those words to music, and the song eventually reached listeners in the voice of Manna Dey. The song was “Hridoyer Gaan Shikhe To Gaay Go Sobai”.
Released in 1965, the song quickly became familiar to listeners. At the time, radio was one of the main ways in which new songs reached the public, and there was a special enthusiasm for new Bengali releases during the Puja season. Sung by Manna Dey, the song found a place among the popular Bengali modern songs of the period.
Just imagine... A football match is under way, excitement fills the ground, and in one corner, in the middle of it all, such a gentle romantic song is being written. With lyrics by Pulak Bandyopadhyay and music by Ratu Mukhopadhyay, Bengali music received a beautiful creation: “Hridoyer Gaan Shikhe To Gaay Go Sobai”.

17/10/2026

One of the best-known Puja songs of 1970 was “Abar Dujone Dekha”. With lyrics by Pulak Bandyopadhyay, music by Nachiketa Ghosh and vocals by Dwijen Mukhopadhyay, the song is a notable example of the popular Bengali ‘basic song’ tradition of the period.
At the time, listeners looked forward eagerly to new Puja releases on the radio, gramophone records and seasonal song lists. In this song, Pulak Bandyopadhyay’s lyrics centre on an unexpected meeting after many years and the memories it brings back. Nachiketa Ghosh’s composition is remarkably restrained, which perhaps allows the nostalgic emotion to gain even greater depth in Dwijen Mukhopadhyay’s measured and expressive voice.
With the charm of both its storytelling and its singing, “Abar Dujone Dekha” remains a notable example of Bengali modern and Puja songs from the beginning of the 1970s.

16/10/2026

By 1963, the partnership between Salil Chowdhury and Shyamal Mitra was no longer a new one. The previous year, Salil’s “Ja Jare Ja Ja Pakhi” had already been released in Shyamal Mitra’s voice. In 1963 came “Jodi Kichhu Amare Shudhao”. The same year also saw the release of another song by the duo, “Dur Noy Beshi Dur Oi”. Both the lyrics and music were by Salil Chowdhury, with Shyamal Mitra on vocals. The song was released in August as a Puja song for 1963.
Right from the opening, the song paints a vivid picture of a place: a grove of bakul trees, a paved bathing ghat, the stone platform beside it, and dried flowers lying scattered on the ground. As the song progresses, however, it gradually becomes clear that these places are tied to the memory of a particular person. Her eyes, her face, the image of her standing by the river, the sight of her arriving with a water pot, one memory after another begins to return. At its heart, “Dur Noy Beshi Dur Oi” is a story of lost love.
The man in the song seems to be telling himself again and again, let what is gone remain gone. Yet however much he tries to forget through his words, that person remains unchanged in his memory. Shyamal Mitra expresses this emotion with remarkable calm and restraint. There is no excess of drama, nor any attempt to perform grief. It feels instead like a man quietly recounting an old story to himself.

12/10/2026

A turning point in the film Guide. Rosie is gradually becoming a celebrated dancer, and her growing fame is beginning to affect her relationship with Raju. The same Raju who was once a cheerful tourist guide, whose job was to show strangers the way, is now slowly losing his own sense of direction.
Mohammed Rafi had already recorded another song for this scene, Hum Hi Mein Thi Na Koi Baat. But Dev Anand and his team felt that the melody did not quite suit the situation. The recorded song was set aside. In its place, S. D. Burman composed a new tune. Yet, even this did not seem quite right. Dev Anand made his feelings clear to Burman. One song had been rejected, and a second composition had failed to impress. The film was still waiting for its song.
What went through Burman's mind that night, we do not know. All we know is that the next morning, Burman woke Dev Anand with two requests: a harmonium should be kept ready that evening, and lyricist Shailendra should be present.
Evening arrived. Burman came, sat down at the harmonium, and began playing a new melody. Within minutes, Shailendra had written the opening lines of the song. And then, in the voice of Mohammed Rafi, Din Dhal Jaye, Haye, Raat Na Jaye was born.

08/10/2026

When R. D. Burman first played the tune he had composed for The Train, director Ravikant Nagaich felt that it was too slow. It did not quite capture the mood he had in mind. Since the film was called The Train, the song seemed to demand a sense of movement, a rhythm that felt as though it were rushing forward. So, the tune went back to R. D. Burman. What emerged next was far more lively, energetic, and playful. Mohammed Rafi stepped up to the microphone, and Gulabi Aankhen was born. This was not a grand or dramatic declaration of love. Instead, Anand Bakshi’s lyrics captured something lighter and more mischievous, with a touch of restlessness, like someone who has just fallen in love and is still trying to understand what is happening inside his heart. In Rafi’s voice, that confused yet delightful feeling found its perfect musical expression in Gulabi Aankhen.

06/10/2026

The time was around 1960. Dev Anand’s Navketan Films was then making Hum Dono.
The film had a scene in which the two lovers stood face to face, neither quite ready to say goodbye. A song was needed for that very moment. At the time, Dev Anand had Hafeez Jalandhari’s famous Urdu poem Abhi To Main Jawan Hoon in mind, a poem that listeners already knew well through Malika Pukhraj’s rendition.
Dev Anand asked Sahir Ludhianvi to retain the rhythm and general flow of that poem, but write an entirely new romantic song. Sahir returned with the unforgettable line, Abhi na jao chhod kar, ke dil abhi bhara nahi.
Then came the task of composing the music. Jaidev had been working for several years as an assistant to S. D. Burman on Navketan films, but had not yet received the opportunity to establish himself independently as a music director.
Before entrusting the music of Hum Dono to Jaidev, Navketan reportedly spoke to Burman to make sure he had no objection to his assistant taking charge as the film’s composer. Burman agreed, and Jaidev moved forward with his blessings. That marked the beginning of a significant new chapter in Jaidev’s career.
Jaidev composed Sahir’s Abhi Na Jao Chhod Kar with remarkable simplicity. There was no need for an overly complex arrangement. The instrumentation remained light and the melody effortless, because at its heart, the song was simply a conversation between two people who did not want the moment to end.
Mohammed Rafi and Asha Bhosle gave their voices to that tender exchange.
And thus was born one of Hindi cinema’s most beautiful and enduring melodies, Abhi Na Jao Chhod Kar.

01/10/2026

Everyone used to tell the young man, “Your voice sounds exactly like Mohammed Rafi’s!”

Around that time, the World Trade Fair was being held in Delhi. Just for fun, he recorded Rafi’s popular song “Tere Kooche Mein Armanon Ki Duniya” on a wire recorder. Hearing the playback in his own voice, he wondered if perhaps a little of Rafi’s magic lived in his voice too.

Until then, he had mostly sung at private gatherings and on All India Radio. His dream was simple: to become a singer.

But Bombay taught him that a good voice alone was not enough. C. Ramchandra showed some interest, while most music directors offered only chorus work. He had left his government job and spent nearly two difficult years moving from studio to studio. His father sent him a little money each month, barely enough for one proper meal a day.

By 1952, he was beginning to wonder how long he could continue.

Then Hemant Kumar gave him an opportunity to sing in the chorus of “Vande Mataram” from *Anand Math*. It became an important opening into Bombay’s music world.

The young man was Ravi Shankar Sharma, later famous simply as Ravi.

The aspiring singer who once dreamed of sounding like Rafi would soon compose songs for Rafi himself. One of the most memorable was “Baar Baar Dekho” from the 1962 film *China Town*, picturised on Shammi Kapoor.

Written by Majrooh Sultanpuri, the song was a spirited declaration of love. Ravi gave it an infectious rhythm that blended a Western-style beat with what he described as an essentially Indian soul.

The song travelled beyond India too. Ravi later recalled that foreign musicians drew inspiration from its melody and that he continued receiving royalties for years. He also said that in 1962, a West Indian band sought permission to adapt the tune into their own language.

And so, the young man who once listened to his own recording hoping to hear something of Rafi eventually composed a song that Rafi himself would immortalise, creating a memorable chapter in Hindi film music.

Where the mountains rise beyond the clouds, every road opens into a new perspective.From sweeping Himalayan panoramas an...
29/09/2026

Where the mountains rise beyond the clouds, every road opens into a new perspective.

From sweeping Himalayan panoramas and mist-covered valleys to endless skies and quiet mountain trails, Sandakphu is one of the most breathtaking destinations in West Bengal. Known for its spectacular views of the Kanchenjunga range, dramatic sunrise landscapes and unforgettable trekking routes, this Himalayan escape reminds us just how small we are before nature.

Some journeys end when we return home.
Some landscapes stay with us forever.

Address

398, Ramkrishnapur Road, Barasat, Near Jagadighata Market
Kolkata
700125

Telephone

+917044476844

Website

,

Alerts

Be the first to know and let us send you an email when Phalguni posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Business

Send a message to Phalguni:

Shortcuts

Share

Category

Nearby contractors

Other Painters in KOLKATA

Show All