The Influence of Western Melodies in Rabindranath's Compositions - Part IV

Go Where Glory Waits Thee

Get this widget | Track details | eSnips Social DNA

Lyrics of Go Where Glory Waits Thee - Thomas Moore
Go where glory waits thee,
But while fame elates thee,
Oh! still remember me.
When the praise thou meetest
To thine ear is sweetest,
Oh! then remember me.
Other arms may press thee,
Dearer friends caress thee,
All the joys that bless thee,
Sweeter far may be;
But when friends are nearest,
And when joys are dearest,
Oh! then remember me!

When, at eve, thou rovest
By the star thou lovest,
Oh! then remember me.
Think, when home returning,
Bright we've seen it burning,
Oh! thus remember me.
Oft as summer closes,
When thine eye reposes
On its lingering roses,
Once so loved by thee,
Think of her who wove them,
Her who made thee love them,
Oh! then remember me.

When, around thee dying,
Autumn leaves are lying,
Oh! then remember me.
And, at night, when gazing
On the gay hearth blazing,
Oh! still remember me.
Then should music, stealing
All the soul of feeling,
To thy heart appealing,
Draw one tear from thee;
Then let memory bring thee
Strains I used to sing thee, --
Oh! then remember me.

The Vicar of Bray.
This has been discussed in detail in a previous post. You will find a melodious rendition of the song here

Nancy Lee


Here is the song by Peter Dawson




A beutiful rendition of the song played on organ can be found here

Lyrics of Nancy Lee

The music to Nancy Lee was written by Michael Maybrick, who published under the name Stephen Adams. He was born in Liverpool in 1844. He completed his music studies there and moved to Leipzig and Milan to study further. He became a well known baritone singer. His first appearance was in the New Philharmonic Concerts in London in 1870. His tunes were popular in both England and America.
Nancy Lee was one of Maybrick's first compositions. It was so popular that within two years over one hundred thousand copies had been sold.

The words was written by Frederick E. Weatherly (1848-1929). Weatherly was born in Somersetshire in 1848 and graduated from Oxford in 1871. He practiced law thereafter, but also wrote more that fifty children's books and wrote several tunes with Maybrick.

Of all the wives as e'er you know,
Yeo ho! lads, ho! Yeo ho! Yeo ho!
There's none like Nancy Lee, I trow,
Yeo ho! Yeo ho! Yeo ho!
See there she stands and waves her hands
Upon the quay, and every day
When I'm away she'll watch for me,
And whisper low when tempests blow,
For Jack at sea,
Yeo ho! lads, ho! Yeo ho!

Chorus
The sailor's wife the sailor's star shall be,
Yeo ho! We go across the sea;
The sailor's wife the sailor's star shall be,
The sailor's wife his star shall be!

The harbor's past, the breezes blow,
Yeo ho! lads, ho! Yeo ho! Yeo ho!
'Tis long ere we come back, I know,
Yeo ho! Yeo ho! Yeo ho!
But true and bright from morn till night
My home will be, and all so neat,
And snug and sweet, for Jack at sea;
And Nancy's face to bless the place,
And welcome me;
Yeo ho! lads, ho! Yeo ho!

Chorus

The bosun pipes the watch below,
Yeo ho! lads, ho! Yeo ho! Yeo ho!
Then here's a health afore we go,
Yeo ho! Yeo ho! Yeo ho!
A long, long life to my sweet wife,
And mates at sea, and keep our bones
From Davy Jones, where-e'er we be,
And may you meet a mate as sweet
As Nancy Lee.
Yeo ho! lads, ho! Yeo ho!

Chorus

The British Grenadiers

This has been discussed in detail in a previous post. You can find below a performance by Texas Saxophone Quartet

The British Grenadiers – Texas Saxophone Quartet

MP3 search on MP3hunting

Ye Banks and Braes

You can find an orchestral rendition here



After the musical rendition here is the song being sung




Lyrics of Ye Banks and Braes

Ye banks and braes o' bonnie Doon,
How can ye bloom sae fresh and fair?
How can ye chant, ye little birds,
And I sae weary, fu' o' care!
Thou'll break my heart, thou warbling bird,
That wantons thro' the flowering thorn!
Thou minds me o' departed joys,
Departed, never to return.
Aft hae I rov'd by bonnie Doon
To see the rose and woodbine twine;
And ilka bird sang o' its luve,
And fondly sae did I o' mine;
Wi' lightsome heart I pu'd a rose,
Fu' sweet upon its thorny tree!
And my fause luver stole my rose -
But, ah! he left the thorn wi' me.

Meaning of unusual words:
braes=hillsides
ilka=every

Robin Adair

Here are three musical renditions of this beautiful song, two of the records are quite old

Robin Adair 1




Robin Adair 2



Robin Adair 3



And now you can find the actual song



Lyrics of Robin Adair

by Lady Caroline Keppel

What`s this dull town to me
Robin`s not near
What was`t I wish`d to see
What wish`d to hear
Where all the joy and mirth
Made this town heaven on earth
Oh, they`re all fled with thee
Robin Adair
What made th` assembly shine
Robin Adair
What made the ball sae fine
Robin was there
What when the play was o`er
What made my heart so sore
Oh, it was parting with
Robin Adair
But now thou`rt cold to me
Robin Adair
But now thou`rt cold to me
Robin Adair
Yet he I loved so well
Still in my heart shall dwell
Oh, I can ne`er forget
Robin Adair

The Influence of Western Melodies in Rabindranath's Compositions - Part III

Western music and melodies which inspired Rabindranath Tagore

We have been discussing the influence of western music on the compositions of Rabindranath Tagore. It was there because he had not only listened to these melodies during his childhood days, but also studied various forms of European music during his visits to England and the continent. In his own words, “At seventeen, when I first came to Europe, I came to know it intimately, but even before that time I had heard European music in our household. I had heard the music of Chopin and others at an early age. As a young boy, I heard European music being played on the piano; much of it I found attractive, but I could not enter fully into the spirit of the thing. I first heard European songs when I was 17 years old during my first visit to London. The artiste was Madame Nilsson, who had a great reputation in those days”.
From his letters of those days, it is known that he had often danced ‘Gallop’ and ‘Lancers’ in association with instruments like piano, violin etc during evening parties and fancy balls. In his autography (Jeevansmriti) he has written, “When I was in Brighton, I once went to hear the song of a famous singer in the institution for music there. I am failing to recollect her name. She might be either Madame Nilsson or Madame Albany. I have never heard such wonderful power of voice”.
In his autobiography he further writes that during his stay in London at Mrs. Scott’s residence, he had practiced Irish Meldiz and learnt some of them. His practice bore fruits and he could gather appreciation for his high pitched singing (Tarsaptak or Tenor) of the popular English numbers those days.
Many people think that these Bengali songs were oriented on the original western melodies only as a mark of influence. But Rabindra thinkers and researchers have a different opinion. Due to paucity of songs in this category and the fact that Gurudev did not compose such songs after he was past his 20s, it can be concluded that he, in the meanwhile, found out songs and music which inspired him throughout his life. Moreover, as the breakaway songs were born out of exact imitations from the point of view of tunes, there was no enthusiasm left in Tagore's mind to compose songs this way any further. The real influence of European music is, therefore, found elsewhere. This influence can be seen from the time of composition of these musical dance dramas till the last days of his life and have been expressed in different dimensions of Rabindrasangeet, thus giving rise to a coordinated trend.
Below is a list of English and European songs and melodies that Rabindranath learnt well during his stay in England.

1. Won't you tell me Mollie Darling
2. Silver Threads Among The Gold (Darling I am growing old)
3. Good Bye, Sweetheart, Good Bye
4. Then you will remember me
5. In the gloaming
6. Sleep on Beloved Good Night, Good Night
7. Go where glory waits thee
8. The Vicar of Bray
9. Of all the wives as e'er (Nancy Lee)
10. The British Grenadiers
11. Ye Banks and Braes
12. Robin Adair
13. If
14. Drink to me with only thine eyes
15. Ave Maria
16. Serenade
17. Messe Solennelle
18. Faust
19. Funeral March
20. Galops
21. Parsifal

These are the songs and compositions with which Rabindranath was well versed with and used to sing and play effortlessly.

Below are some short compositions by Charles Gounod on piano, organ and other instruments and it is possible that Rabindranath derived inspiration from these musical pieces

Powered by eSnips.com

Molly Darling - Will Oakland Original

You can hear the song here




This is the newer version of the same song by Hank Snow. See how that it has evolved over time. You can find it here





Lyrics of Molly Darling

Won't you tell me Molly darling
that you love none else but me
For I love you Molly darling
you are all the world to me
Oh tell me darling that you love me
put your little hand in mine
Take my heart sweet Molly darling
say that you'll give me thine
Stars are smiling Molly darling
through a mystique veil of night
They seem laughing Molly darling
while they seem to hide their light
Oh no one listens but the flowers
while they hang their heads in shame
They are modest Molly darling
When they hear me call your name
Molly there is sweetest dearest
look up darling tell me this
Do you love me Molly darling
let your answer be a kiss


Silver Threads Among The Gold - Will Oakland (Darling I am growing Old)

You can find the song here




Lyrics of Siver Threads Among the Gold (Darling I am Growing Old)

Darling, I am growing old,
Silver threads among the gold,
Shine upon my brow today,
Life is fading fast away;
But, my darling, you will be, will be,
Always young and fair to me,
Yes, my darling, you will be,
Always young and fair to me.
Darling, I am growing, growing old,
Silver threads among the gold,
Shine upon my brow today,
Life is fading fast away.

Good Bye Sweetheart Good Bye



Then You Will Remember Me



In the Gloaming



Lyrics of In The Gloaming

In the gloaming, oh my darling,
when the lights are soft and low
and the quiet shadows falling
softly come and softly go..

When the trees are sobbing faintly
with a gentle unknown woe,
will you think of me and love me,
as you did once long ago..?

In the gloaming, oh my darling,
think not bitterly of me.
Though I passed away in silence
left you lonely, set you free..

For my heart was tossed with longing,
what had been could never be.
It was best to leave you, thus, dear,
best for you and best for me..

In the gloaming, oh my darling,
when the lights are soft and low,
will you think of me and love me,
as you did once long ago..?



Sleep on Beloved




Lyrics of Sleep On Beloved

Sleep on beloved sleep and take thy rest
Lay down thy head upon thy Saviour's breast
We love thee well but Jesus loves thee best
Goodnight, goodnight, goodnight

Until our shadows from this earth are cast
Until He gathers in His sheaves at last
Until the twilight gloom is over past
Goodnight, goodnight, goodnight

Until made beautiful by love divine
Thou in the likeness of thy Lord shalt shine
And He will bring that golden crown of thine
Goodnight, goodnight, goodnight

Until we meet again before the throne
Clothed in the spotless robes He gives His own
Until we know as we have known
Goodnight, goodnight, goodnight

Continued......

The Influence of Western Melodies in Rabindranath's Compositions - Part II

In Kaalmrigaya, the another song named " Tui Aay Re Kaache Aay" is based on an age old British tune - "The British Grenadiers". When you hear both the songs one after other, you can make out the similarity very clearly. Here Tagore has created an appropriate depiction of children playing in the garden with his wonderful lyrics blending with the tempo of the original tune of "The British Grenadiers".

The British Grenadiers is a marching song for the grenadier units of the British military, the tune of which dates from the seventeenth century. It is the Regimental Quick March of the Grenadier Guards, the Honourable Artillery Company and the Royal Regiment of Fusiliers. It is also an authorised march of The Royal Gibraltar Regiment, The Royal Regiment of Canadian Artillery, The Canadian Grenadier Guards, The Royal Regiment of Canada, The Princess Louise Fusiliers, and The 5th Canadian Mounted Rifles.

A song entitled "The New Bath" found in Playford's dance books from the 1600s is thought to be the origin. However, it is also suggested that it was derived from the Dutch march "De Jonge Prins van Friesland" ("The Young Prince of Friesland", referring to Prince Johan Willem Friso); the first notes of this tune are similar.
Here is the original Dutch marching band.

The march was introduced to Britain during the reign of the Dutch Stadholder-King William III. Today it is played as the Royal Inspection March in the Dutch army and as a march to the crown prince.
The first known association of the tune with the regiment is in 1706 as 'The Grenadier's March', and the first version printed with lyrics from around 1750. It was a popular tune throughout the eighteenth and nineteenth centuries, and remains so until this day
In the UK, it is played at Trooping the Colour. Additionally, the first eight measures are played during the ceremony when the Escort for the Colour marches into position on Horse Guards Parade.

Lyrics
The following text is the most well-known version of the song. The text arguably dates back to the War of Spanish Succession (1702-1713), since it refers to the grenadiers throwing grenades (a practice that proved to be too dangerous and was dropped soon after,) and the men wearing "caps and pouches" (i.e. the typical grenadier caps, worn by these elite troops, and probably the small cartridge boxes worn in front, known as a 'belly box') and "louped clothes", then preserved only for the grenadiers.

Some talk of Alexander, and some of Hercules
Of Hector and Lysander, and such great names as these.
But of all the world's great heroes, there's none that can compare.
With a tow, row, row, row, row, row, to the British Grenadiers.
Those heroes of antiquity ne'er saw a cannon ball,
Or knew the force of powder to slay their foes withal.
But our brave boys do know it, and banish all their fears,
Sing tow, row, row, row, row, row, for the British Grenadiers.
Whenever we are commanded to storm the palisades,
Our leaders march with fusees, and we with hand grenades.
We throw them from the glacis, about the enemies’* ears.
Sing tow, row, row, row, row, row, the British Grenadiers.
And when the siege is over, we to the town repair.
The townsmen cry, “Hurrah, boys, here comes a Grenadier!
Here come the Grenadiers, my boys, who know no doubts or fears!
Then sing tow, row, row, row, row, row, the British Grenadiers.
Then let us fill a bumper, and drink a health to those
Who carry caps and pouches, and wear the loupèd clothes.
May they and their commanders live happy all their years.
With a tow, row, row, row, row, row, for the British Grenadiers.

*sometimes sung "about the Frenchmen's ears"

The British Grenadiers - Walter Nelson

Get this widget Track details eSnips Social DNA

The British Grenadiers - The Fast Marching Band

Get this widget Track details eSnips Social DNA

The British Grenadiers - Swagatalakshmi Dasgupta

Get this widget Track details eSnips Social DNA

The British Grenadiers and Tui Aay Re Kaache Aay - Aantorjatik Rabindranath

Get this widget Track details eSnips Social DNA

The influence of western melodies in Rabindranath's compositions - Part I

As I have discussed in my previous post that many of Rabindranath Tagore's compositions were influenced by melodies and popular tunes from European nations as also from different parts of India.
I will try to provide an in depth analysis of these to the best of my ability. I will supplement the discussions with audio files wherever necessary.
During the years 1880-1882, Rabindranath wrote two dance dramas - Balmiki Protibha and Kaalmrigaya in that sequence. In these two works the influence of western popular and folk music is very much evident. Let us take up Kaalmrigaya (The Fatal Hunt) first. In Kaalmrigaya six songs have a very obvious western influence and these are
1. Phoole phoole dhole dhole (Drowsing on every flower)
2. Sokoli Phuralo (everything is over)
3. Mana na manili (Ye did not obey forbiddance)
4. O dekhbi re bhai (O brother you will see)
5. Enechi mora enechi mora (Brought we have, we have brought)
6. Tui ay re kaache aay (O bhai dekhe ja), (Come ye nearer come) (O brother come and see)

Let us take up "O Dekhbi Re Bhai" first. This song's tune is an adaptation from "The Vicar of Bray".

The Vicar of Bray is a satirical description of an individual fundamentally changing his principles to remain in ecclesiastical office as external requirements change around him. The religious upheavals in England from 1533 to 1559 and from 1633 to 1715 made it almost impossible for any individual to comply with the successive religious requirements of the state.
A satirical 18th century song, "The Vicar of Bray", recounts the career of a vicar of Bray, Berkshire, towards the end of this period and his contortions of principle in order to retain his ecclesiastic office despite the changes through the course of several monarchs from Charles II to George I.

In the song, "The Vicar of Bray", the eponymous vicar was the clergyman of the parish of Bray-on-Thames, Berkshire. The most familiar version of the lyrics recount his adaptability (some would say amorality) over half a century, from the reigns of Charles II to George I. Over this period, he embraced whichever form of liturgy, Protestant or Catholic , was favoured by the monarch of the day in order to retain his position as vicar of Bray.
The earliest version of the song's lyrics may have been written by "an officer in Colonel Fuller's regiment," according to one source. They exist in various forms. However, the story of the vicar's cheerful reversals of principle remains the same in all circumstances.

The Vicar of Bray - Lyrics
In good King Charles's golden days,
When loyalty had no harm in't,
A zealous High Churchman I was,
And so I gained preferment.
To teach my flock I never missed:
Kings were by God appointed;
And they are damned who dare resist
Or touch the Lord's anointed.

And this is law I will maintain
Until my dying day, sir,
That whatsoever King shall reign,
I'll be Vicar of Bray, sir.

When Royal James obtained the Throne,
And Popery grew in fashion,
The Penal Law I hooted down,
And read the Declaration;
The Church of Rome I found would fit
Full well my constitution;
And I had been a Jesuit
But for the Revolution.

And this is law I will maintain
Until my dying day, sir,
That whatsoever King shall reign,
I'll be Vicar of Bray, sir.

When William, our deliverer, came
To heal the nation's grievance,
Then I turned cat-in-pan again,
And swore to him allegiance
Old principles I did revoke,
Set conscience at a distance,
Passive obedience was a joke,
A jest was non-resistance.

And this is law I will maintain
Until my dying day, sir,
That whatsoever King shall reign,
I'll be Vicar of Bray, sir.

When glorious Anne became our Queen,
The Church of England's glory,
Another face of things was seen,
And I became a Tory.
Occasional Conformist Face!
I damned such moderation;
And thought the Church in danger was
By such prevarication.

And this is law I will maintain
Until my dying day, sir,
That whatsoever King shall reign,
I'll be Vicar of Bray, sir.

When George in pudding-time came o'er
And moderate men looked big, sir,
My principles I changed once more,
And so became a Whig, sir;
And thus preferment I procured
From our Faith's great Defender;
And almost every day abjured
The Pope and the Pretender.

And this is law I will maintain
Until my dying day, sir,
That whatsoever King shall reign,
I'll be Vicar of Bray, sir.

The illustrious House of Hanover,
And Protestant Succession,
By these I lustily will swear
While they can keep possession
For in my faith and loyalty
I never once will falter,
But George my King shall ever be,
Except the times do alter.

And this is law I will maintain
Until my dying day, sir,
That whatsoever King shall reign,
I'll be Vicar of Bray, sir.




I am going to assume that some readers are not well versed in this period of English history, and will thus provide a little historic background in hopes of enhancing the fun of reading this wonderful poem.
The Charles to which the opening passage refers is Charles II, who assumed the English throne at the age of 30 in 1660, after having spent his youth in exile during the rule of the Lord Protector, Oliver Cromwell, who had had his father Charles I beheaded in 1649. Charles II was an avid supporter of the Church of England until a few days before his death, when he confessed to a priest and took his first and only Catholic communion.
Upon Charles' death in 1685, his brother James II assumed the throne. James was 53 at the time. He was a Catholic, having converted in 1668, to the great distress of his brother the King. His first wife, a protestant, bore him two daughters, Mary and Anne. Upon her death, he married an ardent Catholic, Mary of Modena. James' Catholicism was a constant source of trouble in Protestant England, but Mary of Modena appeared to be incapable of giving birth to a live child, so the English assumed that the throne would pass to James' Protestant daughter, Mary.
Just before James' death, however, Mary of Modena ostensibly gave birth to a young male, James Francis Edward Stuart, who later became known as the "Old Pretender." I say ostensibly because rumors abounded that some other woman's baby had been smuggled into the birthing chamber in order that a Catholic would inherit the throne. This is known as the "warming pan" legend. This birth threw the English Court and the nation into turmoil. Amid the fray, the Bishop of London and six prominent nobles secretly invited William of Orange ("William, our deliverer" in the poem) and his wife, James' Protestant daughter Mary, to come to England and take the throne by force, which they did, after James basically abandoned the fight and was allowed to go into exile in France.
William was a Presbyterian. He was adamantly anti-Catholic, which pleased the Anglicans, but he was not one of them, which weakened their enthusiasm a bit. Mary died childless of smallpox in 1694. William governed for eight more years, but was unpopular throughout this time.
When he died in 1702, Mary's sister Anne took the throne. She was an ardent Anglican. Indeed, she is known today as one of the most English of all the English monarchs. She died childless in 1714, and the English sent to Germany for the 54-year-old Elector of Hanover, who reluctantly moved to England and became King George I. His claim to the throne was that he was the great grandson of James I, who had assumed the English throne one hundred and eleven years earlier, in 1603 upon the death of Queen Elizabeth I.
George was unpopular. He spoke no English and cared little for the English people. As King, his natural affinity was with the Tories, but he distrusted the Tory leadership, knowing that many of them had secretly supported the Jacobite uprising in 1715, one year after he became King. The object of this uprising was to place James Stuart on the throne. It was led by the Old Pretender's son Charles Edward Stuart, the "Young Pretender." So George became tight with the Whigs, who were led by the deeply corrupt, but politically astute Prime Minister Robert Walpole. With that introduction, please enjoy this great old classic.

This is the same song sung by an Indian artist, Swagatalakshmi Dasgupta followed by a depiction of how that tune was used by Tagore in his composition "O Dekhbi Re Bhai" from Kaalmrigaya. The first song is from Swagatalakshmi's album "Swadesh Bidesh" and the second one is from an album called "Antorjatik Rabindranath".

Swagatalakshmi Dasgupta (Swadesh Bidesh) - The Vicar of Bray

Get this widget Track details eSnips Social DNA

Antorjatik Rabindranath - The Vicar of Bray and O Dekhbi Re Bhai

Get this widget Track details eSnips Social DNA

My next post will be on another song from "Kaalmrigaya" - Tui Aay Re Kaache Aay.