Remembering Gopal Yonjan
Posted by barunroy on September 5, 2008
FROM GORKHAPATRA SANSTHAN
By Ananda P Srestha
On 20 May 1997, Nepal lost a worthy son who in the short span of his life did his country proud. It is now a decade since he passed away. The person in question is Gopal Yonjan. The legend that he was in his lifetime as a music composer, director, lyricist and music arranger has left an unfathomable void in the Nepali field of music which even after a decade since his passing remains to be filled and which it seems will probably be so for quite some time to come. His untimely death at the age of 54 is a sad reminder of the adage “all those god love die young.” [Inset: Gopal Yonjan. Photo by Music Nepal] .
It is now a decade sans Gopal Yonjan in the Nepali music scenario and it will not be an overstatement to say the absence has been acutely felt. His compositions and those composed by other lyricists that his music brought to life are constant reminders of the fact.
Besides, these songs conjure up memories of the not too distant, but golden past when the famous mitjus’ Gopal Yonjan and Narayan Gopal virtually dominated the Nepali music scene. The timelessness of such pieces like Malai Maf Garideu, Galti Hazar Hunchha, Ay Malai Maya Garne Haru, Kehi Chotle, Lau Suna Ma Bhanchhu, Chumera Pana Bhari, Yeti Chokho, Samhala ghumtoharu, Aankha chhopi Narou, Malai Zindagiyo Lagdachha, Timro Jasto Mutu Meropani, Sara Din Arulai, Birsera Pheri Malaina Hera etc.etc.bear testimony to that
fact.
Gopal Yonjan with a studious bent of mind dedicated his entire life in studying and researching all forms of Nepali music. His compositions are therefore, versatile and do not confine to any type or genre. In this connection Gopal’s Ritu Ranga, released a couple of years ago deserves special mention; the CD brought out by his wife Renchin with much difficulty long after his death, dedicated to promoting peace and understanding.
The CD is vintage Gopal Yonjan a collector’s item and reflects the growth and evolution of the man as a musician and researcher. Though the versatility of the collection defies definition and to even label it “a poetic fusion of Nepal’s melody and rhythm with the dynamics of the Nepali seasons” would still be wanting. The collection graphically captures Nepal’s musical heritage, culture and art as embodied in its geographical uniqueness that stretches from almost sea level flatlands of the Nepal Tarai to Sagarmatha the highest point on earth.
The Flute Intro, track 1 of the album is a beautiful piece, a befitting prelude that heralds the six seasons of Nepal signifying the eternal cycles of existence from death to rebirth.
Track 2 entitled Kathmandu conjures up images of medieval Kathmandu with small groups of Newar musicians playing their traditional drums and musical instruments as they go up to Swoyambhunath every morning to pay homage to Buddha during the month long Gunla festival. The piece vividly juxtaposes the image of ancient temples, stupas, myths and legends of the past against 21st century Kathmandu.
The Tamang Selo of track 3, accompanied by the lively beat of the damphu, reflects the lifeblood of Tamang culture. The folk rhythm subtly fused with intricate violin pieces and a melodic flute raises possibilities that the Selo, besides being highly entertaining, could well symbolize a rich culture whose unique musical heritage remains largely untapped.
Sagarmatha, track 4 invokes visions of mighty Sagarmatha and the Nepal Himals at close range; the harsh countryside dotted with Gombas and Chortens and in addition, yak herds against steep cliffs and deep, narrow gorges of a rugged mountain landscape. The violin and damyang blend perfectly and become one with the chorus. The piece signifies a tireless search for truth, for the jewel in the lotus – for eternal peace, salvation and nirvana.
Ritu Ranga, (tracks 5 to 10) a musical epic in six seasons reflects Nepal’s existence cycle drawn from the maestro’s intimate moments with nature. The blend of melody and rhythm through instruments like the bamboo flute, sarod, classical fiddle, violin, sitar, santoor, bells, panche baja, murchunga etc., aptly reflect Nepal’s cultural identity.
Track 11 Rhythms / Sounds of Nepal, a grand finale to the collection in the form of traditional drums/drumbeats like the damphu, chyabrung, khaijadi, madal, dhime, khi, dholak etc., echoes the “rhythm heritage” which for centuries have been central to diverse forms of Nepal’s cultural practices -from the mountains right down to the plains.
Though the music was composed by Gopal in the early 90s the recording and release of the album after his death, is the continuation of the musical aspirations that the couple Gopal and Renchin Yonjan dreamt and visualized to project worldwide Nepal’s beauty and cultural mosaic. Ritu Ranga can well be regarded Gopal’s magnum opus in that regard as it creates musical history through classical and avant-garde disciplines.
Today, even a decade after his death, Gopal through Ritu Ranga lives on, this time by transforming a unique concept into a classic. For lovers of music the “miracle” of listening to Ritu Ranga is an exhilarating experience. Though Gopal paints on a wide national canvas, he does so with feeling and sensitivity, vision and insight. Being able to capture the diverse beauty of Nepal through its musical heritage is no easy feat. The attempt is unique in that the collection is not only a pioneer in the field but also opens up vistas for further research in the area.
Besides being a musical genius, Gopal was a true nationalist and loved his country and people. His later songs clearly indicate this and his attempt to reach out to the common mass holds him in high esteem. No matter how often one hears “Deshle ragat mage malai bali chadhau” it unfailingly summons up the Nepali blood worldwide. It is with this in mind that Renchin says, “Gopal’s songs reflect an innate bond that he believed would touch a common cord in all Nepalese scattered around the world, transcending man-made barriers and boundaries. His songs hold messages especially for the youth of Nepal whom he desired to inspire and motivate.”
There was however, one passion in Gopal as a lyricist and music composer that remained unfulfilled – his dream to write a song that the Nepalis from the mountains right down to the tarai would sing with equal gusto, passion and feeling. But this was not to be. The challenge however, still stands, destined maybe, to be filled in by another talent in the field!
