Rabindranath Tagore and his compositions

Rabindranath Tagore has been, remains and will continue to be a towering personality in the Bengali literature and culture. It is impossible to comprehend Rabindranath completely both as a person and pertaining to his works. His presence in every field of fine arts; be it literature, music or paintings and sketches; to name a few remains undisputable. Rabindranath Tagore is an all pervading presence in Bengali life and culture.
Rabindra Sangeet or the songs of Rabindranath aptly add a new dimension to the world of Bengali music. His songs breathe a whiff of fresh air in our worn-out, exhausted lives and imbibe us with new spirit and energy to get rejuvenated. The songs of Rabindranath are the purest manifestations of ethereal life and all that man thinks, dreams, craves and strives for. Rabindra Sangeet can undoubtedly be regarded as the voice of mankind, such is the vastness of the compositions.

Ironically, these divine songs of Tagore were initially not given due respect and recognition in our society. His songs were not regarded as refined by the connoisseurs of music who were mostly fond of Indian classical music. In the musical conferences of the elites no other Bengali songs except Nidhubabu's 'Tappa Songs' , could gain much ground. On some stray occasions, the songs of Rajnikanta or Dwijendralal could be heard but Rabindra Sangeet was not considered eligible enough to match the status of the 'refined' songs which suited the ears of the classes. Rabindra Sangeet could only be heard during the prayers and social functions of the Brahmo Samaj. The sole breeding ground of Rabindra Sangeet was the institution in Santiniketan, the hermitage of the poet.
If we try to ascertain the reason of ascertain the reason of neglecting Tagore's songs, we'll see that the Bengalis were so obsessed with the divine poems of Rabindranath that they found it difficult to judge his versataility when it came to music. It took a long time for the average Bengali to realize and evaluate the incredible talent of Rabindranath as a lyricist and music composer.

Rabindranath, himself, was well-aware of this fact. He had a deep sense of infliction for this neglect of his songs. He was heard to tell his close associates in a pensive mood that the Bengalis failed to make a proper estimation of his quintessential songs due to ignorance. But the saint poet was also optimistic that a day would come when the Bengalis would not be able to do away with Rabindra Sangeet as he had sincerely blended in his songs all those essential elements that make the Bengalis stand out as a distinctive race. His songs represent the dreams and desires, hopes and aspirations, joys and woes, success and failure, ecstasies and frustrations and all the emotions, sentiments and feelings of Bengali life. That he was absolutely right was proved in the impending times. Today, Rabindra Sangeet is serving as the lifeline in the cultural life of Bengal. In this context, it becomes necessary for us to talk about the origin of Rabindra Sangeet and its prevailing background. Rabindranath Tagore arrived in Bengali life at crucial time when the age old scanario of art and culture was undergoing a radical change.
The Evolution of Rabindranath
In the Thakur Bari (House of Thakurs or Tagores) at Jorasanko in Kolkata, an earnest endeavour was made for the resuscitation of original Indian music and Bengali songs in particular. However, the musical ambience in the 'Thakurbari' was different from that of Saurindra Mohan Thakur. The latter had simply concentrated on the preservation of the traditional music whereas Maharshi Debendranath and Jyotirindranath Thakur of Jorasanko not only took care in preserving the existing schools of Indian music but were also prolific in enriching the world of Indian music with new and innovative creations. Rabindranath was an ideal successor of his father Debendranath. He had an intrinsic proclivity for music and through his divine songs took Indian music to dizzying heights and gave it a new identity.

It deserves mention in this regard that Saurindra Mohan Thakur had particularly patronized the growth of Indian classical (Dhrupadi) music. In those days, the elites, especially the kings and landlords were so fond of classical music that they sincerely cultivated and promoted it. The Nawab of Ayodhya who was exiled in Metiabruz, Kolkata also played a significant role in promoting Indian classical music. In fact, refined classical music with aristocratic fervour along with western education had cast a profound impact on the then Bengali society which had virtually severed all its affinity with the world of Bengali songs.
Even the more popular Bengali songs like Kirtan, Shyama Sangeet, Baul songs etc. had taken the back seat. Except a few religious songs, there was hardly any other variety of Bengali song which was admired by the elites and the middle class people.

During this crucial juncture when Bengali song was going through the worst phase of its existence, Pt. Ishwar Gupta wrote a few invaluable treatises on the concerned subject in the 'Sangeet Prabhakar' which hogged the attention of the educated and refined classes. It was the first deliberate attempt to make the learned upper classes aware of the rich heritage of Bengali songs. The musical genius of Rabindranath was in fact spruced up and perfected by three streams of music namely
1. Refined Indian classical music
2. Different gharana or schools of music existing in different regions of India and
3. Western music.

Rabindranath made an extensive research on Indian music. He collected exquisite specimens of music from different Indian states and made a divine amalgamation with them using his gifted innovative talent. For instance, the divine song 'Anandaloke Mangaloke' composed by Tagore was in fact taken from the tune of a popular song in Mysore. Again some of his songs are indebted to Sikh Bhajans. Initially, Rabindranath's songs were immensely influenced by Indian classical music. Most of his Brahmo Sangeet (songs devoted to Brahmo) is indebted to Hindusthani 'gharana' of songs.

Rabindranath was very fond of ballads, Nidhubabau's Tappa songs, songs of the kathaks (Brahmins who recite or interpret legends or myths), raconteurs and the rustic songs of the talented local singers whose songs were imbibed with the essence of nature. Tagore's knowledge of Indian music was all the more enriched during his stay of Silaidaha when he came in class contact with Lalan Phakir, the legendary Baul singer of Bengal and Gagan Harkara. Tagore was fascinated to hear their melodious songs. He was deeply impressed to find the simplicity in language and style and the dulcet rustic music which make an ethereal combination to express the profound philosophies of life. The Baul philosophy, music and spontaneity of expression had influenced Tagore so deeply that he went as far as calling himself Rabindra Baul.

Another school of music which cast a profound impact on Rabindranath was Kirtan. This is the balladic style in which he wrote 'Bhanu Singher Padabali.' The impact of the Vaishnava Padavali was conspicuously felt here. Incidentally, Padavali is a wreath of stanzas or Vaishnava poems.

The first phase of Rabindra Sangeet
The first phase of Rabindra Sangeet can approximately be regarded from 1877 to 1900. During this phase, Tagore was more of a learner, collecting valuable materials from the vast sea of Indian music. So we find the Tagore songs of this period showing positive influence of Hindustani classical music, western music from all nook and corner of the world. With his tremendous innovative talent, Tagore tried to make a divine blending of all types of music which touched his heart. His songs, during this period, were also influenced by the songs of Jyotirindranath, Akshay Chowdhury and Nidhu babu. Not to mention, there were several other compositions which were exclusively his own and independent so far as style or content is concerned. But these songs were also influenced to some extent by contemporary music of those days. However, this phase was short-lived and soon Rabindranath's genius as an independent and spontaneous song composer was conspicuously felt.

During this advanced stage, Tagore's songs were immensely influenced by Brahmo Sangeet and religious songs based on Ragas. Now, he composed three spectacular lyrical plays viz., 'Balmiki Pratibha,' 'Kal Mrigaya' and 'Mayar Khela.' He also composed a few patriotic songs and love songs during this phase. Till then, he was not vehemently influenced by folk-songs or Baul songs. He was rather more deeply influenced by the classical music and the 'durbari gharana' as was practised in their household.

Since the very inception, Rabindranath tried to be meticulous in maintaining a parity or harmony between music and lyrics. Most of his songs during this phase were clearly influenced by classical songs. Most of his songs are marked for their 'Antara,' 'Sanchari,' 'Abhoy' etc. Another feature of his songs deserves mention in this regard. Many of his earlier songs which are based on Ragas and Raginis do not bear any resemblance with our known world of classical music. This was because of his innovative spirit which loved to experiment with various schools of music. He was undoubtedly influenced by north Indian classical music. But he was no less touched by the Vishnupur gharana of music.

Rabindranath had composed several songs based on some quintessential Ragas. Most of these songs were based on Bhairavi and Raga Behag. In the meantime, he had made remarkable progress as a music composer. Now he was showing clear signs of maturity as a lyricist and music composer. His remarkable improvement can be easily traced if we compare his earlier song 'Boli Amar Golapbala' with 'Tumi Rabe Nirabe' composed later in 1895. Both the songs were based on Raga Behag but the latter had far surpassed the former in qualitative excellence. Similarly, his earlier song 'Aaj Tomare Dekhte Elam,' based on Raga Bhairavi, is not at par with 'Keno Jamini Na Jete Jagale Na' composed later in 1897. Sometime during this period, he composed some exquisite songs e.g. 'Emon Dine Tare Bala Jai' (Raga Malhar), 'Tumi Sandhyar Megh Mala' (Raga Iman Kalyan) which prove the real genius of Rabindranath as a composer of divine music.

As mentioned earlier, Tagore was very much influenced by occidental songs as well as regional Indian music. With the cultural diversity of India, her music too has also assumed manifold colourful forms and patterns. Rabindranath had taken the best of whatever he heard and applied these in his songs. Some of the spectacular songs of Rabindranath which were directly influenced by the time of regional songs from several Indian provinces are given below:
Rabindranath's Song Derived from
1) Gaganer Thale Rabichandra Dweepak Jwale - Sikh Bhajan
2) Boro Aasha Kore - Kannada Song
3) Aaaji Subho Dine - Kannada Song
4) Sakatare Oi Kandiche - Kannada Song
5) Bendhecho Premer Pashe - An old Bengali Song
6) Nami Nami Bharati - Gujarati Bhajan
7) Jao Re Ananta Dhame - Gujarati Bhajan
8) Eki Andhakar Ey Bharatbhoomi - Gujarati Bhajan
9) Eki Labonye Purna Pran - A song from Mysore
10) Anandaloke Mangalaloke - A song from Mysore
During this period, Rabindranath had also adopted music from western songs and used them effectively in his songs. Some remarkable specimens are 'Katobar Bhebechinu,' 'Purano Sai Diner Katha' and a few other songs. Most of these songs were aptly used in his lyrical plays viz., 'Balmiki Pratibha,' 'Kalmrigaya' and 'Mayar Khela.'
Kirtan, Baul and folk music too have had profound impact on Rabindra Sangeet. Some outstanding specimens of such Tagore songs are as follows:
Rabindranath's Song Derived from
1) Gahan Kusum Kunja Majhe - Kirtan
2) Ami Jene Sene Tobu - Kirtan
3) Shyama Ebar Chere Cholechi - Ramprasad's song
4) Amar Mon Mane Na - Kirtan
5) Khyapa Tui Achis Apan - Baul song
6) Amare Ke Nibi Bhai - Baul song
7) Khanchar Pakhi Chilo - Kirtan
8) Baro Bedonar Mato - Kirtan
9) Tomar Gopan Kathati - Kirtan
10) Ohe Jeebanballav - Kirtan
11) Bhalobeshe Sakhi - Kirtan
12) Ami Nishidin Tomai - Kirtan
13) Amra Milechi Aaj Mayer Dake - Ramprasad's song
14) Olo Sai Olo Sai - Kirtan
15) Hridayer Ekul Okul - Baul
16) Oke Balo Sakhi Balo - Kirtan
17) Tobu Mone Rekho - Kirtan
In his outstanding lyrical play 'Balmiki Pratibha,' Tagore has freely adopted from western music and some Hindusthani songs. Besides, he was also influenced by the Vaishnava poets, Dasharathi Roy, Kalidas's 'Abhigyan Shakuntalam' etc. Such verses as 'Timir Digvari Ghor Jamini/Rim Jhim Ghana Ghanare Barashe' clearly show the impact of Vaishnava Padavali. Again, beautiful verses as 'Tarase Chamkiye Harini' remind us of the versatile Kalidas.

In another remarkable lyrical play 'Kalmrigaya,' Tagore adopted the tunes from some western songs. They are given below:
Original English song Rabindra Sangeet
1) The Vicar of Bray - O Dekhbi Re Bhai
2) The British Grenadiers - Tui Aire Kache Dhole
3) The banks and braes - Phoole Phoole Dhole Dhole
4) Go where glory waits thee - Mana Na Manili
5) Robin Adair - Sakali Phooralo
Several songs of 'Kalmrigaya are deeply indebted to Indian classical music. Some excellent Ragas and Raginis like Mishra Bhoopali, Mishra Khambaaj, Chhayanat, Gaud Malhar, Bahar, Desh have been adopted by Rabindranath in Kalmrigaya.

In 'Mayar Khela,' Tagore had shown his gifted prowess in making a perfect blending of exquisite songs with the theme of the play. This play has love as its leitmotiv and is full of romantic songs. But it deserves special mention here that the love depicted in 'Mayar Khela' is pure and divine. It is by no means base or carnalistic and is devoid of passion or desire. The music composed by Tagore is marvellous while the language employed is easy, lucid, graceful but poignant.

The second phase of Rabindra Sangeet

In this phase, Tagore's songs have been mostly adopted from some timeless books of poems and plays. Some of these books are 'Naibedya,' 'Sishu,' 'Kheya,' 'Geetanjali', 'Geetimalya' and 'Geetali.' Some of the outstanding plays are 'Sarodotsav,' 'Prayaschitta,' 'Raja,' 'Achalayatan,' 'Phalguni,' 'Arup Ratan' etc. Off course, there are some independent songs of Tagore as well. However, this period is popularly known as the era of 'Geetanjali-Geetali-Geetimalya' from the point of view of Tagore's music.

Rabindranath, by now, was more matured and more dextrous in creating music. Through ample experimentations and researches, he was trying to give birth to an independent, spontaneous and graceful form of music. Now he was also inclined towards folk songs which did not quite appeal to his ears in the earlier phase.

During the first moiety of this phase, Rabindranath had composed several songs by adopting music from some marvellous Hindusthani classical songs. He was very particular to see that the lyrics gelled well with the music and it is this harmony which has forever remained a major key to the success of his timeless songs. To reduce the poetic intensity of his songs, he has at times, modified certain Ragas and moulded them accordingly. He has even blended two or more Ragas as and when required intensifying the effect of his songs. A remarkable instance of such exquisite song is 'Ache Dukkha Ache Mrityu.' This song is a unique blending of four Ragas viz., Lalit, Bibhas, Jogiya and Ashabari.

All these four Ragas are exclusively meant to be sung at dawn. A unique blending of these Ragas emits a sense of love and languishment at the same time which leads to emancipation of spirit. More specimens of such exquisite songs based on classical music are found in the 'Geetanjali,' 'Geetimalya' and 'Geetali.' These songs are distinctly different from those of the earlier period. They are more soothing to the ears and have been simplified to a great extent. This time, Tagore deliberately tried to avoid intricate and screne talas (tala implies rhythmic pattern of Indian music) such as Chautal, Dhamod, Adachautal etc.

Gradually, Rabindranath came out of set patterns and conventional norms of classical music and tried to create something original and sui generis. During this phase, Tagore's songs were also emancipated from the strong influence of the Vishnupur gharana of music. He was no longer influenced by any other school of music.

It was this phase of Rabindranath's life when he composed 'Jana Gana Mana Adhinayak Jay Hey...' This ethereal composition was universally accepted as the national anthem of India. He wanted to be meticulous while composing the national anthem so that the tune could illuminate the hearts of all Indians with the spirit of nationalism, irrespective of caste, creed, community, sex or religion. He made a unique blending of those Ragas which are commonly sung and are most popular. Finally, Tagore rendered that brilliant literary touch to the song which has made it immortal. Similarly, the versatile poet has written several other patriotic songs which have a universal appeal in lucid Sanskrit language.
After the foundation of the Brahmo Samaj, music became an inextricable part of prayers and religious ceremonies. The creative genius in Rabindranath impelled him to try a hand in this sphere as well. It cannot be denied that in this form of music too; Rabindranath has composed some timeless marvellous songs and elevated the general standard of devotional music.

In 'The Geetanjali,' the poet's earnest desire to feel the omnipotent God in the core of his heart, has not been fulfilled. At times, he gets His divine glimpses but he is not satiated. In 'Geetimalya,' the poet gets his desired unison with the Almighty whereas 'Gitali' is a celebration of that divine unison, the ecstasy and enlightenment which has been derived through the divine unison an climaxed through several strife and struggles.

A glance at the following verses clearly indicates the various shades of the poet's mind at different stages.

(a) 'Aji Jharer Rate Tomar Abhisaar Paran Sakha Bandhu Hey Amar.' (Gitanjali)

(b) 'Ei Labhinu Sanga Taba Sundar Hey Sundar Punya Holo Anga Mama Dhanya Holo
Antaar.' (Geetimalya)

(c) 'Aguner Parashmani Chonao Praane Ey Jeeban Punya Karo Dahan Daane.' (Geetali)


The third phase of Rabindra Sangeet

The third phase of Rabindra Sangeet is a very matured and developed stage which can literally be called as Rabindranath's very own. Durig this phase, Tagore ensconced himself in the domain of songs as the maestro and came out of all conventional patterns or imfluence of any school of music. He was now at his creative best and showed brilliant sparks of originality and ingenuity. During this phase, Tagore had hardly adopted from any other songs or music of any gharana whatsoever. A salient feature of his music in this stage was a unique amalgamation of classical music with folk music. The latter was the sort of music which is essentially intertwined with the soil and soul of Bengal.

Consequently, Tagore's songs have gained in mass appeal due to their lilting melody and wonderful lyrics. His innovative music also brought a whiff of fresh air in the world of Bengali music. A remarkable instance of such ecstatic song is 'Mone Ki Dwidha Rekhe Gele Chole.' This song has been composed in Mishra Iman, a divine Raga and depicts the picture of a monsoon evening during torrential rainfall. In 'Sanchari,' 'Akashe Uriche Bakpati/Bedona Amar Tari Saathi' elevates the mind of the listener to a state of trance. Following the rhythm of the fluttering wings of the flying swans, this song based on Ragas, suddenly mingles with the tune of Kirtan or devotional song. Again, on several occasions, Tagore has blended some Ragas and Raginis with those songs based on folk music. Below is given a list of melodious songs which exemplify the pinnacle of such exquisite blending as mentioned earlier.
1) Anmona Anmona - Kirtan
2) Paush Toder Daak Diyeche - Folk Music
3) Diner Pare Din Je Gelo - Baul Music
4) Ore Gaihabasi Kholo Dwar - Folk Music
5) Jakhan Mallikabane - Kirtan
6) Amar Praner Majhe Sudha Ache - Kirtan
7) Ja Chilo Kalo Dhalo - Baul
8) Agun Amar Bhai - Baul
9) Ore Mon Jakhon Jagilona Re - Baul
10) pagla Hawar Badol Dine - Baul
11) Tomra Ja Balo Tai Bolo - Kirtan
12) Ami Kaan Pete Roi - Baul
13) Megher Kole Kole - Baul
14) Byartha Praner Abarjana - Baul
15) Rodan Bhara Ey Basanta - Kirtan
16) Aaji Ey Nirala Kunje - Kirtan
17) Purano Janiya Cheyona - Kirtan
18) Krishnakali Ami Tarei Boli Mishra - Kirtan
It deserves mention in this regard that most of those songs which had been composed by Tagore in the shadow of folk music, were used effectively in several plays.

So far as Baul songs are concerned, it can be said that the Baul philosophy and religion is different from others in essence. The Bauls try to realize God in themselves. They believe that the Almighty or the soul of souls in all pervading and dwells in every human heart. Their sole concern, therefore, is to know the Creator, Preserver and Destroyer of life on earth. This same philosophy has been reflected in Tagore's songs like 'Praner Manush Ache Prane,' 'Mon Jakhon Jagli Na Re' etc.

In the terminal phase of his life, Rabindranath created yet another spectacular form of music which has been termed as Rabindrik Kirtan or Rabindrik Baul by Santidev Ghosh, the notable exponent of Rabindra Sangeet. In these songs, Rabindranath had made a unique fusion of Kirtan and Baul music of East Bengal. Some ideal examples are as follows:

1) Ora Akarane Chanchal
2) Amar Kee Bedona Sey Ki Jano
3) Jete Jete Chaina Jete
4) Laho Laho Tule Laho

Tagore composed most of his lyrical plays and dance dramas either at the initial phase of his literary life or at the terminal phase. Hence, his songs reflect two different eras and the mood and tempo of these songs vary accordingly. Dramatization of songs or music has been best exemplified in 'Chandalika,' which is regarded by pundits as a masterpiece of the versatile genius. In order to intensify the dramatic effect sudden twists and turns in the play, Rabindranath has introduced subtle variety as and when required. He has also made necessary changes in music and rhythm at times.

Interestingly, Tagore has used the some Raga in this play in different ways to intensify the dramatic effect particularly when the sequence is tilting towards an anti-climax. This has added a new dimension to his play.

Last but not the least is certain poetic songs of Tagore which are exquisite in quality. Initially, they were composed as rich poetry. Later, music was rendered to them and converted into songs. Some remarkable specimens are 'Khanchar Pakhi Chhilo Sonar Khanchatite,' 'Jakhon Porbe Na Mor Payer Chinha' etc.
This was a brief treatise on Tagore’s works, mainly his literary works and songs. Needless to say such is the vastness of his creations that this seems just a drop in the ocean. I have taken valuable inputs from different sources, to present this.
In my next post I shall be presenting a treatise on Tagore’s songs influenced by western melodies. These are easily available, but my endeavour would be to present them in a friendly and scientific manner.