Bangla Newspaper Song Download [Extra Quality]

The word sonar literally means "made of gold", with sona meaning gold, and amar showing possession. It is used as a term of endearment meaning "beloved", but in the song the words sonar Bangla may be interpreted to express the preciousness of Bengal.

The first ten (10) lines of this song constitute Bangladesh's national anthem that is most commonly sung, adopted in 1971 during its liberation war. Only those lines are given in the following section. The instrumental orchestra rendition was composed by Samar Das.[6]

Bangla Newspaper Song Download

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Born into a Bengali Muslim Kazi family hailing from Burdwan district in Bengal Presidency (now in West Bengal, India),[2] Nazrul Islam received religious education and as a young man worked as a muezzin at a local mosque. He learned about poetry, drama, and literature while working with the rural theatrical group Leor Dl, Leo being a folk song genre of West Bengal[13] usually performed by the people from Muslim community of the region. He joined the British Indian Army in 1917 and was posted in Karachi. Nazrul Islam established himself as a journalist in Calcutta after the war ended. He criticized the British Raj and called for revolution through his famous poetic works, such as "Bidroh" ('The Rebel') and "Bhangar Gan" ('The Song of Destruction'),[14] as well as in his publication Dhmketu ('The Comet'). His nationalist activism in Indian independence movement led to his frequent imprisonment by the colonial British authorities. While in prison, Nazrul Islam wrote the "Rajbndr Jbanbnd" ('Deposition of a Political Prisoner').[15] His writings greatly inspired Bengalis of East Pakistan during the Bangladesh Liberation War.

Nazrul Islam's writings explored themes such as freedom, humanity, love, and revolution. He opposed all forms of bigotry and fundamentalism, including religious, caste-based and gender-based.[16] Nazrul wrote short stories, novels, and essays but is best known for his songs and poems. He introduced the ghazal songs in the Bengali language[17][18][19][20] and is also known for his extensive use of Arabic, Persian and Urdu words in his works.[21][22][23]

Nazrul Islam wrote and composed music for nearly 4,000 songs (many recorded on HMV gramophone records),[24] collectively known as Nazrul Gti. In 1942 at the age of 43, he began to be affected by an unknown disease, losing his voice and memory. A medical team in Vienna diagnosed the disease as Pick's disease,[25] a rare incurable neurodegenerative disease. It caused Nazrul Islam's health to decline steadily and forced him to live in isolation. He was also admitted in Ranchi (Jharkhand) psychiatric hospital for many years. At the invitation of the Government of Bangladesh, Nazrul Islam's family took him to Bangladesh and moved to Dhaka in 1972. He passed away on August 29, 1976.[19]

On 14 April 1923, he was moved from Alipore Jail to Hooghly Jail in Hooghly. He began a 40-day fast to protest mistreatment by the British jail superintendent, breaking his fast more than a month later and eventually being released from prison in December 1923. Nazrul Islam composed numerous poems and songs during his period of imprisonment. In the 1920s, the British Indian government banned many of his writings.[1] Rabindranath Tagore dedicated his play "Basanta" to Nazrul Islam in 1923. Nazrul Islam wrote the poem "Aj Srishti Shukher Ullashe" to thank Tagore.[49] His book Bisher Banshi ('The Flute of Poison'), published in August 1924,[50] was banned by the British Raj.[51] Bisher Banshi called for rebellion in India against the British Raj.[52] Bisher Banshi was read and distributed in secret following the ban.[53]

With his wife and young son Bulbul, Nazrul Islam settled at Grace Cottage, Krishnanagar in Krishnanagar in 1926. His work began to transform as he wrote poetry and songs that articulated the aspirations of the working class, a sphere of his work known as "mass music".[56]

In what his contemporaries regarded as one of his greatest flairs of creativity, Nazrul Islam vastly contributed in profusely enriching ghazals in Bengali, transforming a form of poetry written mainly in Persian and Urdu.[31] Nazrul Islam's recording of Islamic songs was a commercial success and created interest in gramophone companies about publishing his works. A significant impact of Nazrul Islam's work in Bengal was that it made Bengali Muslims more comfortable with the Bengali arts, which used to be dominated by Bengali Hindus.[58] His Islamic songs are popular during Ramadan in Bangladesh. He also wrote devotional songs on the Hindu Goddess Kali.[59] Nazrul Islam also composed a number of notable Shyamasangeet, Bhajan and Kirtan, combining Hindu devotional music.[60] In 1928, Nazrul Islam began working as a lyricist, composer, and music director for His Master's Voice Gramophone Company.[61] The songs written and music composed by him were broadcast on radio stations across India, including on the Indian Broadcasting Company.[1][62]

Nazrul Islam wrote thousands of songs, known collectively as Nazrul Geeti. The exact number is uncertain. The complete text of 2,260 is known, and the first lines of 2,872 have been collected, but according to musicologist Karunamaya Goswami, it is popularly believed that the total is much higher. Goswami has written that some contemporaries put the number near 4,000.[69]

Nazrul Islam was not limited to Islamic devotional music but also wrote Hindu devotional music. He composed Agamanis, Bhajans, Shyama sangeet, and kirtan.[76][77] Nazrul Islam wrote over 500 Hindu devotional songs.[78] However, a section of Muslims criticized for writing Shyama Sangeet and declared him Kafir (infidel). On the other hand, he became displeased with some Hindus for writing devotional songs about Hindu goddesses because he was a Muslim.[79] Nazrul Islam's poetry and songs explored the philosophy of Islam and Hinduism.[71][80] Nazrul Islam's poetry imbibed the passion and creativity of Shakti, which is identified as the Brahman, the personification of primordial energy. He also composed many songs of invocation to Lord Shiva and the goddesses Lakshmi and Saraswati and on the love of Radha and Krishna.[31] Nazrul Islam was an exponent of humanism.[81] Although a Muslim, he named his sons with both Hindu and Muslim names: Krishna Mohammad, Arindam Khaled (Bulbul), Kazi Sabyasachi and Kazi Aniruddha.[82]

Nazrul Islam's success soon brought him into Indian theatre and the then-nascent film industry.[1] His first film as a director was Dhruva Bhakta, which made him the first Muslim director of a Bengali film.[51] The film Vidyapati (Master of Knowledge) was produced based on his recorded play in 1936, and Nazrul Islam served as the music director for the film adaptation of Tagore's novel Gora. Nazrul Islam wrote songs and directed music for Sachin Sengupta's biographical epic play based on the life of Siraj-ud-Daula.[83] He worked on the plays "Jahangir" and "Annyapurna" by Monilal Gangopadhyay.[83] In 1939 Nazrul began working for Calcutta Radio, supervising the production and broadcasting of the station's musical programs. He produced critical and analytic documentaries on music, such as "Haramoni" and "Navaraga-malika". Nazrul Islam also wrote a large variety of songs inspired by the raga Bhairav.[84]

Nazrul Islam's wife Pramila Devi fell seriously ill in 1939 and was paralysed from the waist down. To provide for his wife's medical treatment, he mortgaged the royalties of his gramophone records and literary works for 400 rupees.[86] He returned to journalism in 1940 by working as chief editor for the daily newspaper Nabajug ('New Age'), founded by the Bengali politician A. K. Fazlul Huq.[86]

The National Anthem of India is titled "Jana Gana Mana". The song was originally composed in Bengali by India's first Nobel laureate Rabindranath Tagore on 11 December 1911.[12][13][14] The parent song, 'Bharoto Bhagyo Bidhata' is a Brahmo hymn that has five verses and only the first verse has been adopted as the national anthem. If put forward succinctly, the anthem conveys the spirit of pluralism or in a more popular term the concept of 'unity in diversity', which lies at the core of India's cultural heritage.

The lyrics of the song first appeared in 5 stanzas in Bengali magazine in an issue of Tatwabodhini Patrika. The melody of the song, in raga Alhaiya Bilaval, was composed as a Brahmo Hymn by Tagore himself with possibly some help from his musician grand-nephew Dinendranath Tagore. The final form of the song before the first public performance was set on 11 December 1911.[15][13][16]

The song was first publicly sung on the second day of the annual session of the Indian National Congress in Calcutta (now Kolkata) on 27 December 1911 by Rabindranath Tagore's niece in her school assembly.[17] Then, it was followed in January 1912 at the annual event of the Adi Brahmo Samaj,[18][19] However, it was largely unknown except to the readers of the Adi Brahmo Samaj journal, Tattwabodhini Patrika. The poem was published in January 1912, under the title Bharat Bhagya Bidhata in the Tatwabodhini Patrika, which was the official publication of the Brahmo Samaj with Tagore then the Editor.[20]

Outside of Calcutta, the song was first sung by the bard himself at a session in Besant Theosophical College in Madanapalle, Andhra Pradesh on 28 February 1919 when Tagore visited the college and sang the song. The song enthralled the college students and Margaret Cousins, then vice-principal of the college (also an expert in European music and wife of Irish poet Dr James Cousins). Based on the notes provided by Tagore himself, the song was preserved in 1919 in Western notation at Madanapalle of Andhra Pradesh by Mrs. Margaret Cousins and her students. The whole episode was recorded by Dr. Cousins in his autobiography "We Two Together":[22] e24fc04721