The song “Rekhaber Roop” (The Form of Rekhab) featured in Kabir Suman’s album Bose Anko. Many people love this song dearly, yet due to the use of certain metaphors from classical music, the meaning can sometimes be difficult to grasp. Let us simplify it for them.
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Rekhaber Roop (Lyrics)
First, let us look at the lyrics of the song:
“Suryoday-er raage gaan dhore Bhimsen Joshi
Komal Rekhab-take bhablen daarun-ruposhi.
Probhin premik jeno smritir gohone diye dub
Konthe chhulen bhore Jogiya-y Rekhaber roop.
Konther chhoa lege sokaler komal rishob
Shiure uthlo peye bhule jawa joto onubhob.
Mone pore gelo taar otite emoni raatsheshe
Khelechhe se Kaberir nodijole balikhar beshe.
Anmona meyti bhashiyechhil porichito phul
Aar keu na dekhuk dekhchhen Kazi Nazrul.
Bigoto se drishei hoyto ba pherar proyashi
Rekhaber ronge ronge ekakar Bhimsen Joshi.”
Celebrating the Komal Rekhab:
The entire song is a celebration of the “Komal Rekhab”.
“Komal Rekhab” means “Komal Rishabh” or “Komal Re”. It is the note that lies between “Sa” and the shuddha (pure) “Re” on a harmonium.
This note has a profound relationship with the morning. All ragas of that time are dominated by this note. The various forms of this note are celebrated in different ways.
Shortly before or after the Brahma Muhurta (the auspicious pre-dawn hour), as the state of nature shifts, this note exerts a special influence.
At that moment, this note refreshes the animal instincts and helps establish self-connection. Similarly, it makes establishing a connection with nature easier. Thus, this “Komal Rekhab” dominates ragas from the Brahma Muhurta until around ten in the morning.
Although the Komal Rekhab is a single note, it has distinct faces (common, very soft, firm, elongated, oscillating, etc.). Depending on the Raganga or the movement of the raga (where it comes from, where it goes, and how it is approached), its appearance changes. Therefore, when a singer or musician can apply the “Komal Rekhab” of a raga in its exact form while singing or playing, they experience a unique joy. And then there are those days when it is applied with absolute perfection, resulting in supreme bliss.
The song “Rekhaber Roop” essentially talks about the raga “Jogiya.” It is a raga of melancholic sentiment.
In this song, Pandit Bhimsen Joshi begins singing in the raga Jogiya around 6:00 AM. When he reaches the Komal Rekhab or applies it, the rekhab of Jogiya strikes a perfect chord in his voice. That “melancholic beauty” takes him deep into the recesses of memory. While drifting along, his artistic soul is suddenly caught in the guise of a young girl in the eyes of Nazrul.
Another reason for the mention of Kazi Nazrul’s song “Kaberi nodijole ke go” here might be that very Komal Rishabh. Nazrul had named the raga “Karnataka Samanta.” Not much is known about the style of this raga, but if you listen to it, you will find the fragrance of Jogiya and Gunkeli throughout.
All in all, the song is a magnificent celebration of the morning’s Komal Rekhab.
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