'''Baran, Timir (1904-87)'''


Aka Timirbaran Bhattacharya. Composer associated with the pioneering use of music for narrative purpose in early sound films. Born to a family of traditional Sanskrit scholars. Became a professional sarod player, studying first under Radhikaprasad Goswami and then, more extensively, with Ustad Allauddin Khan, continuing the latter’s experiments with orchestral arrangements at Maihar when he joined Uday Shankar’s dance troupe (1930), touring in Europe and the USA. Worked with [[Modhu Bose]]’s Calcutta Art Players (1934), enhancing Bose’s Orientalist plays with an eclectic amalgam of symphonic structures for Indian instruments (Alibaba, Bidyutparna). Baran extended Bose’s idiom after visits to Java and Bali whence he imported the xylophone. Continued working with Bose in film ([[Kumkum]], [[Raj Nartaki]]). Best-known work at the [[New Theatres]], starting with his classic score for [[Barua]]’s [[Devdas]]. Moved briefly to Bombay (1939) working at [[Sagar]] and [[Wadia]] Studios. Took a break from films to work e.g. for AIR, creating an orchestral score to accompany [[Tagore]]’s [[Kshudista Pashan]], a symphony on non-violence to celebrate India’s first Independence Day (1947), and a 75’ programme on the History of the Earth. Joined the music faculty of Tagore’s Shantiniketan in the 60s.
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FILMOGRAPHY:''' 1935: Devdas; Bijoya; 1936: Pujarin; 1938: Adhikar; 1940: Dharmapatni; Deepak; Lakshmi; Suhaag; Kumkum/Kumkum The Dancer; 1941: Raj Nartaki/Court Dancer; Uttarayan; 1944: Samaj; 1945: Bondita; 1949: Samapti; 1954: Baadbaan; 1955: Amar Saigal; 1959: Bicharak; 1965: Thana Theke Aschhi; 1970: Diba Ratrir Kabya; 1978: Dak Diye Jai.

[[Music]]