Anadi Kumar Ghoshdastidar was born in Sylhet, British India (now in Bangladesh). In 1912, he moved to Santiniketan as a student of the Brahmacharyashram, which was established by Rabindranath Tagore. He completed his matriculation in 1920 and spent the next five years learning music from Rabindranath himself, as well as from Dinendranath Tagore.
To enhance his musical knowledge, he studied classical Indian music under renowned teachers such as Bhimrao Shastri, Nakuleshwar Goswami, and Radhika Prasad Goswami of Kolkata. Additionally, he trained in playing the veena, becoming an accomplished veena player. His expertise in veena led him to play for Uday Shankar’s famous dance troupe.
Musical Career and Contributions
In 1925, Anadi Kumar moved to Kolkata and chose Rabindra Sangeet as his professional career. He was among the first musicians, outside of Santiniketan, to dedicate himself to the teaching and promotion of Rabindra Sangeet after Rabindranath and Dinendranath.
One of his significant contributions came in 1928 when he was given the responsibility of directing music at the Kolkata Congress Session. He initially worked as a music teacher at ‘Sangeet Sammilani’ and ‘Basanti Vidyabithi.’ Later, he became the principal of ‘Geet Bitan’ and eventually took charge as its director.
Anadi Kumar was actively involved in gramophone recording, radio broadcasting, cinema, and theatre. He played a crucial role in training musicians at the Gramophone Company of India (HMV). He also initiated the “Block Program” for radio broadcasting, a significant step in structured music programming.
Association with Theatre and Cinema
It was Rai Chand Boral who introduced Anadi Kumar to ‘New Theatres,’ one of Kolkata’s leading film studios. There, he worked as a music trainer for many films. He was also associated with Bombay Talkies and played an important role in film music composition.
Shishir Bhaduri, a pioneer in Bengali theatre, introduced him to the stage. Anadi Kumar worked as the music director for Bhaduri’s famous plays like Chirakumar Sabha and Shesh Rokkha. Later, he became associated with Star Theatre and composed music for many stage productions.
During his time with Uday Shankar’s dance troupe, he played the veena in numerous performances.
Role in Music Notation and Rabindra Sangeet’s Standardization
In 1948, at the initiative of Rabindranath Tagore’s family members and Indira Devi Chaudhurani, the ‘Swaralipi Samiti’ (Music Notation Committee) was formed to standardize the musical notation of Rabindra Sangeet. Anadi Kumar was appointed as the editor of this committee, a position he held until his retirement in 1965. Under his leadership, many of Tagore’s songs were carefully transcribed into musical notation, ensuring their accuracy for future generations.
His work played a vital role in the proper documentation and preservation of Rabindra Sangeet in its original form.
Introduction of Rabindra Sangeet in Cinema
Anadi Kumar was instrumental in introducing Rabindra Sangeet into Bengali cinema. Under his music direction, Rabindra Sangeet was used in films for the first time, paving the way for its continued integration into Bengali films.
Death and Legacy
Anadi Kumar Ghoshdastidar passed away on February 4, 1974. His contributions to Rabindra Sangeet and Indian music remain invaluable. His dedication to preserving and promoting Rabindra Sangeet played a crucial role in making it accessible to a wider audience beyond Santiniketan.
His legacy continues through the music institutions he helped build, the numerous students he trained, and the vast collection of Rabindra Sangeet compositions he helped standardize. His influence is still felt in the world of Bengali music, particularly among those who continue to cherish and uphold the traditions of Rabindra Sangeet.
