Debabrata Biswas - Conflict

Conflict

Authoritarian eyebrows started to be raised from 1964 onwards with the liberties he started taking by challenging the published tune-notations, scansion, traditional tempo, beat and rhythms which people were accustomed to associate with Tagore lyrics, as well as with his inclination towards the use of western musical instruments for the purposes of accompaniment and interlude - an obsession that remained with him till his death. He challenged the sensibilities of Tagore song listeners with the use of the Spanish guitar, the saxophone,the clarionet, the piano and the cello along with the sitar, the sarod, the esraj and the violin; and all this in the name of 'interpretation' and 'freedom of expression'. His popularity swelled beyond bounds with the masses, young and old - connoisseurs and dilettante alike for, despite these excesses, the power and intrinsic purity of style and spirit of his renditions were unparalleled.

In the later part of the 1960s Debabrata was seriously challenged by the authorities over his audacious style and quite a number of his records were prohibited from commercial production for reasons attributed to wrong spirit, wrong tempo and other melodic excesses not regarded as harmonious to the purity of Tagore compositions. Although initially he did brace himself to meet the challenge, he retreated later and on his own volition stopped all record production. As further controversy fuelled, his public live performances continued with an ever increasing demand but with age (now he was 60) and a declining voice and his lifelong asthma affliction, he withdrew from public appearance, venting his anguish and frustrations in his autobiographical reflections : Bratyo Janer Rudhha Sangit (or The Stifled Music of an Untouchable), published in 1979, a year before his death on August 18, 1980.