Source type
Source type: Manuscript copy
Content type: Notated music
Date
1876
Publishing, printing and production information
Place: Calcutta
Material
Format, extent: 1 score: 60 f.
Dimensions: 35 cm
Watermark description
[Crown with arches, wide, with pearls] | [oval with figure, possibly Athena, with spear, shield, and winged helmet]
Notes
Inscribed and notated in parallel passages of Bengali and European music notation and text underlay. The scribal notation for rhythmic subdivisions is idiosyncratic, differing from convention: the Roman numeral above or below a beamed group indicates the number of notes included in the division of that group, as expected; but the duration of the entire beamed group is equal to the value of just one note of the group. For instance, four notes beamed as sixteenth notes, inscribed with Roman numeral 4, actually sound as sixty-fourth notes (i.e. four notes in the duration of one sixteenth note).; Synopsis inscribed by Kaliprasanno Bandyopadhyay, "Professor of Hindu Music," f. [59v-60v]: "Prologue. (Scene opens and discovers a magnificent Hall, set off with decorations proper for a drawing room. Enter a musician who sits at the piano. Enter three Songstresses who sing in Chorus the introductory song.)" -- "Act I, Scene 1. A Grove. Radhica and Brinda are discovered seated. They converse, and their conversation has reference to an ill report just spread in Brindahun about Radhica, because of her love for Krishna. It is believed and pretty freely expressed that Radhica lives in liaison with Krishna. Radhica complains (in songs) bitterly of her position in society, resolves to do something desperate, if nothing were done by her lover to save her honor, and asks Brinda if she knows of any plan that would do. In this stage the other maids of Radhica enter dancing and singing, and carrying with them garlands as presents to Krishna. But Brinda having informed them of Radhica's plight, they sit down to decide upon a plan that may serve to remove th stigma upon Radhica's fair name. It is then resolved that Radhica would not speak to her lover, when he was on a visit to her, unless her wish was gratified. Enter Krishna playing the Flute. He is at first prevented from coming in by the maids, but on his promising to accede to Radhica's wish, he is allowed his wonted place beside her." -- "Act II, Scene I. A Room in Ayans' House. Discovers Ayans seated, who by his looks and gestures expresses great signs of uneasiness. The cause of his uneasiness is the inconstancy of his wife, Radhica. He sings a song, expressive of his feeling for Radhica. Enter a neighbour, - a typical milkman - who advises Ayan to mind his business which has of late gone wrong, and assures him that the report that his wife is inconstant has no foundation in truth. Exit the neighbour. Enter Kootila who remonstrates with Ayan for having allowed his wife to have her own will, accuses Radhica of inconstancy, and informs Ayan that even now she is receiving a clandestine visit from her paramour in the adjacent grove. Stung by these words, he hurriedly leaves the room to wreak his vengance upon the miscreants." -- "Act II, Scene II. A Grove. Radhica and Krishna are discovered seated on a grassy mound, and Radhica's maids standing near. The maids are bent upon some pastime. They propose that Radhica personate the queen and Krishna her valet. Krishna having agreed to this proposal, the maids range themselves to sing and dance. While all are progressing merrily, Radhica informs Krishna that she has the conviction of something unpleasant to come. No sooner she feels this presentiment of danger, then she observes Ayan and Kootila. Enter Ayan and Kootila. Terror. Krishna transforms into Kali, the protecting Goddess of Ayan. Radhica sits down to worship Kali. Her maids form a group and sing a song in praise of Kali. Ayans' suspicion and wrath are averted and he too commences to pray. Kootila sneaks away discomfitted." -- "Act III, Scene I. A Room in Nunda's Palace. Krishna is discovered lying miserable. The whole Gowal [supra 'city'] is beside his bed. The scene presents an aspect of awe and desolation. Josoda weeps and is comforted by Radhica and her maids. A physician is called in. By his knowledge in Astrology he divines that Krishna may be restored to life, on his body being sprinkled over with water drawn by a chaste woman from the Jumuna in a vessel perforated in thousand places. Jotila and Kootila are called upon to get water. They both fail, much to the satisfaction of Radhica's maids. Then the physician names Radhica as the person capable of getting water. She goes accompanied by her maids against her will and distrustful of her own ability." -- "Act IV, Scene I. The Bank of the Jumuna. Enter Radhica and her maids. Radhica expresses her utter incredulity to perform the task entrusted to her and is encouraged by her maids. She succeeds, however, in drawing water in the appointed vessel. Her joy knows no bound. Her maids express their deep thankfulness to God Almighty. Exeunt Radhica and her maids singing and dancing." -- "Act IV, Scene II. A Room in Nunda's Palace. Discovers Krishna lying miserable, and Josoda weeping beside him. Krishna's father, uncle, brother, and friends are all there. There is anxiety in every face. All are on the tip-toe of expectation about Radhica. Enter Radhica and her maids. The physician takes some water from the vessel and sprinkles over Krishna's body. Krishna recovers, much to the chagrin of Jotila and Kootila who sneak away. There is joy and exultation on all sides, singing and dancing."
Binding note
Binding note: Stationery binding, spine thicker than fore edge, producing slight wedge shape. Both boards separated from spine. Leaves pasted to cloth stubs, gathered and sewn. Careful trimming suggesting contents first written and then bound.