Rabindra Sangeet - essence & influence

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Rabindra-Sangeet as a Resource for Indian Classical Bandishes By Anirban Dasgupta

Rabindranath's titanic intellect found manifestation in almost every facet of fine art. One of the most outstanding amongst them is Rabindra-sangeet, which embodies a breathtaking fusion of his musicianship and poetic genius. Such was the impact of this creation, that it not only withstood the test of time for more than a century, but also secured a unique place for itself in the subcontinent's musical culture.

The objective of this article is not to deliberate on the beauty and depth of Rabindra-sangeet. There are countless works in this regard by people far more knowledgeable on Rabindranath and Rabindra-sangeet, and the influence of Classical music on Rabindra Sangeet has been amply analyzed and now stands as an accepted fact. What this article aims to focus on, is how and to what extent has Rabindra-sangeet, in its turn, influenced the more traditional forms of music and its exponents. In particular, there has been a pronounced influence of Rabindra-sangeet on some of the noted classical instrumentalists of North India. There are indeed scopes of debate over the rationale and the extent of potential of this influence, but the fact remains that it cannot be denied. There are far too many precedents in its favor.

In the succeeding sections of this article, it has been attempted to investigate, what elements in Rabindra-sangeet triggered this kind of influence on Indian Classical instrumentalists and what consequences it led to.

Traditional elements in Rabindra-sangeet:

It is an accepted fact that elements of Indian classical music have been used in an extremely intelligent and effective fashion in Rabindra-sangeet. It is indeed one of its most significant features. The application of this ingredient was however dictated principally by the perceived requirements of the mood evoked in the song, which was after all the core entity of his creation. An overt application of elements derived from classical music would have conflicted with this requirement. Therefore the application of classical elements, more often than not, had been subtle, and only to the extent necessary to express the emotive content of the song. Many of his songs therefore have only a partial conformity to ragas. Of course, in cases where he found the tonal color of the raga in almost total conformity to the sentiment of the song, he adopted the raga in its entirety. On certain instances, we even see authentic classical compositions adopted faithfully in respect of both melody and rhythm, set to outstanding Bengali lyric. The urge to evoke a particular mood to his own satisfaction, often led him to blend ragas in unexpectedly beautiful and interesting ways, or to look for uncharted and unexplored nuances within the known frameworks of ragas. It was on these occasions that some of his most beautiful and intellectually challenging creations came forth.

The influence of Rabindra-sangeet on Indian classical Instrumental music is perhaps due to the fact that much of what is played on Indian classical instruments today is derived from vocal music, principally of classical as also to some extent, of non classical origin (like lighter variety of compositions derived from folk music such as Kirtan or Bhatiyali). Classical instrumentalists have always looked for newer ideas and inspirations to feed their imagination not merely from these sources. Rabindra-sangeet with its sheer beauty and lyricism combined with the exquisite embodiment of the classical genre, naturally turns out to be a very potential resource to prospect.

Influence of Rabindra sangeet on Classical Instruments and Instrumentalists

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The Beginning:

The pioneering example in this regard was set by none other than the great Ustad Vilayat Khan Sahib. He had adopted the famous song, Bhenge Mor Gharer Chabi, into a beautiful, lilting light-classical composition. This was an interesting instance of a distinguished classical musician being motivated to imbibe the beauty and lyricism in Rabindra-sangeet .

The next example in this regard was set by Sri Buddhadev Dasgupta, the renowned sarodiya. Being a person with cultural roots in Bengal, he might have had a greater exposure to Rabindra-sangeet in general. His approach towards adoption of Rabindra-sangeet to classical music, naturally, was a more involved one. Out of the numerous classical compositions he has derived so far from Rabindra Sangeet, there are examples of transformations inspired by a variety of different aspects such as melodic appeal, interesting and unexpected application of raga movements, interesting ways of blending of ragas and even re-discovery of old classical compositions. His work in this area is based on years of exhaustive study and research in collaboration with Rabindra-sangeet experts like Shubhash Chowdhury.

The introduction of these kind of compositions in the arena of authentic Indian Classical Music took place over the decades of sixties and seventies. The initiation had been cautious and measured, considering the conventional mind-set of most of the contemporary musicians and listeners. For example, Sri Dasgupta played his first sarod composition, derived from the Rabindrasageet Shedin dujone, in his AIR National Program in 1978, dubbing it as a "light classical composition set to Pilu" and not as "a sarod gat based on Rabindra Sangeet".

The Endeavor and its Acceptance:

It took quite some time for this novel approach to be accepted by the musicians, critics and listeners in its correct perspective. At the initial stage, presentation of such compositions were limited to more intimate gatherings rather than important and full fledged classical concerts. The response of the musical community, though not of outright rejection was somewhat confused. On one hand they were moved by the aesthetic appeal of the compositions, but on the other, were not quite sure of the categorization of such compositions. These compositions were definitely not like light classical compositions (commonly termed as "dhun"). Their appeal was definitely more dignified, and were set to purer forms of Ragas for the Dhuns are mostly set to lighter and blended Ragas with an ambience akin to that of folk music. They could also not be classified as authentic classical compositions or bandishes propagated over musical generations, as their origin was quite different. Sometimes they were sweepingly described as "Rabindra-sangeet played on sarod". This was a totally inappropriate description as well, as the compositions, more often than not, were quite different in their overall melodic construction, rythmic orientation and tempo than the original Rabindra-sangeet it had been derived from. In most cases the similarity was at a much more abstract level of melodic ideas and movements.

Therefore it was left to the proponents of this approach to educate and appraise the audience over the true characteristic of these compositions. This led to the formulation of certain experimental presentations featuring exponents of Rabindra-sangeet and classical musicians on a common stage, where some selected songs were presented along with their transformed versions of instrumental composition (or "gat" in the parlance of Hindusthani music), with adequate explanations in between. One of the earliest presentations of this kind was featured by Doordarshan Kendra, Calcutta with Budhhadev Dasgupta, V.Balsara (the famous pianist and film music personality) and Sri Ramanuj Dasgupta, (one of the contemporary upcoming Rabindra Sangeet singers). The reception to this program was very positive. Noted personalities from the sphere of Rabindra-sangeet as well as classical music acclaimed the effort. Further, as an interesting spin off, a large section of lay music-lovers and Tagore enthusiasts found an interesting cue towards the so-called "abstract" appeal of classical music. A number of similar experimental programs were staged over the following years, with other eminent personalities from spheres of classical music and Rabindra-sangeet, volunteering to take part in such ventures. There have been quite a few presentations of these nature featuring Suchitra Mitra and Budhhadev Dasgupta, Subinoy Roy, Ravi Kichlu and Jaya Biswas and many others. Programs on this theme were accepted and presented by the AIR and Doordarshan on a number of occasions as well. Following suit, the Sangeet Natak Academy also funded a complete project on this theme. From this point onwards, it can be said, that the endeavor received its formal acceptance from the connoisseurs and listeners of classical music as also from the mass media. The idea was thereafter emulated by some of the most well known classical instrumentalists like Ustad Amjad Ali Khan. The trend continues to this day with dedicated stage programs focusing on classical compositions derived from Rabindra-sangeet. The interesting thing to note here is that just as the stage is shared by Rabindra-sangeet singers and classical instrumentalists, the galleries as well are shared by listeners of Rabindra-sangeet and classical music.

The Aspects of transformation

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Having delineated the course of evolution of this interesting work, it would be worthwhile to take a closer look at the aspects of transformation that it involves. Since this has to be examined on the basis of concrete examples, the author has chosen a few, from the works of Sri Budhhadev Dasgupta, whose contribution in this regard has not only been a pioneering one, but perhaps also the most profound and exhaustive. The compositions derived by him had been based on a number of different perspectives of musical thinking.

It should be borne in mind that when we talk of transformation, we are obviously not talking about simply playing Rabindra-sangeet on sarod. Certain ideas are taken from the original Rabindra-sangeet and used to formulate a composition suitable for the context of a classical instrument. The original song therefore, undergoes a change or a sort of reconstruction in that certain salient ideas taken from the song are represented using the elements of sarod vocabulary. The resulting composition can consequently differ to a considerable extent from the orginal song that inspired its creation. The difference mostly is on counts of rhythmic construction or tempo but sometimes also in details of melodic construction. The similarity on the other hand is rather abstract and more often than not at the level of an overall melodic outline. There are a few examples of course, where the nature of the original song itself is so akin to that of a classical presentation that it finds its way almost unaltered into a classical composition.

Revisiting lost domains in ragas or ragas themselves:

As mentioned before, in many of his creations Rabindranath had focussed on ragas from rather striking and unexpected perspectives. Some of the movements he had used, though unusual, could not be challenged on counts of beauty and conformity to the raga. Some of these movements were taken from very old and traditional conventions in classical music. One such example is the use of R, G, M, P, D.., M G in the opening lines of Shanti karo borishono, based on Rag Tilak Kamod. From this took birth a beautiful, medium tempo (Madhya Laya) sarod composition (gat). An almost forgotten but exceedingly lyrical and romantic usage of Komal Gandhar in the latter part of the opening stanza (sthayee) of the song Oi Janalar dhare (Click here for an excerpt of the songor the bandish (Singer: Aniruddha Sinha; Ensemble: Sitar - Sugata Nag, Rahul Chatterjee, Sarod - Anirban Dasgupta, Pratyush Banerjee) is another outstanding example of such an application. In Emono dine tare bola jai we find a beautiful yet unconventional portrayal of Desh Malhar. Both of these songs have inspired excellent sarod gats set to teental. In some of the songs there has been an excellent delineation of uncommon Ragas. Aji jato tara tabo akashe (Excerpts: of the songor sarod-solo bandish. Artists: Sriradha Banerjee, sarod solo: Buddhadev Dasgupta) beautifully pictures Manjh Khambaj, a Raga which existed in the days of yore, but was somewhat rarely heard in the arena of pure classical music. This song was almost completely imbibed into an excellent slow teental (Vilambit) composition by Buddhadev, and has been rendered by him in many of his important concerts. (Excerpt: Anirban Dasgupta, Buddhadev Dasgupta and Zakir Hussain playing Manjh Khamajat Vassar College, Poughkeepsie, 1985.) Incidentally, the same raga which Tagore so adeptly applied in his song, was later revived and popularised in the world of classical music by Acharya Alauddin Khan and his son, Ustad Ali Akbar Khan, the legendary sarodiya.

Beauty of Approach, Movement and Melody

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As mentioned before, many of the songs, have such a poignant and emotionally moving representation of commonly known ragas, that it would become rather difficult for a sensitive classical musician to overlook their intrinsic musicality. This poignancy or musicality in more objective terms can be interpreted as interesting application of note sequences. Many of the derived sarod compositions have been inspired by this factor. For example, in the song Shedin dujone one finds such an entrancing portrayal of the raga Pilu; here the notes of this rather common raga have been played with creative mastery. This was, in fact, Budhadev's first inspiration to derive a sarod composition from Rabindra sangeet. In "Chokhe-r aaloey" one finds a simple yet serenely beautiful depiction of Yaman Kalyan. This was converted into a medium tempo composition set to Teen tal. A scintillating fast Tintal composition of Khambaj was created from Amar kantha hote gaan ke nilo. The rhythm of the original song (Dadra) had to be entirely changed in order to adapt it to the ambience of an instrumental presentation. This was necessary as the idea was to present not just the song but a full-fledged classical composition derived out of it. The basis of this transformation was the beauty of the melodic outline of the song. In contrast, Jodi e amaro is a striking example where not only is the melodic construction but also the rhythmic framework has been followed in to-to in the derived instrumental composition based on raga Kafi. Here as well, Tagore entrances us with the rare, beautiful yet unmistakable approach to Kafi starting from the note Dhaibat. Out of Tagore's many songs based on Bhairabi, Tabo daya is one of the most outstanding considering the exquisite application of notes the heightens the expression of beauty and devotion. This prompted the creation of a medium tempo gat, largely maintaining the note sequences but changing the rhythmic framework to the somewhat-more-brisk Teen tal. There are more examples of this nature, such as Shey kon boner horin (Hemant) vocal[by Agnibha Banerjee] or instrumental bandish[by the "Ensemble"}, or Shopney amar mone holo (Hameer).vocal[by Aniruddha Sinha] or instrumental bandish[composed by the "Ensemble"].

(Re)Discovering old classical compositions

Most of the songs composed by Rabindranath are characterised by their outstanding individuality, both from the point of views of lyric and melody. But on a certain instances we also find him faithfully adapting the melodic content of old classical compositions. In certain cases where he found the melodic as well as rhythmic orientation of existing or old classical compositions in keeping with the clime of the song being composed he never hesitated to follow them with complete faith. It was perhaps his tribute to a rich tradition of classical music. Hence in some of the songs like Shukho hin nishi din, (vocal[by Haimanti Shukla], sarod bandish[by Buddhadev Dasgupta] or Shunyo hate phiri he we find priceless classical bandishes, faithfully captured and set to outstanding poetry. Even playing these songs verbatim on an instrument would make them sound like authentic classical instrumental compositions. An interesting commentary on this is provided in the audio-cassette series named "Rupantori", featuring stalwarts like Subinoy Roy and Prasun Banerjee.

Highlighting Tagore's outstanding ideations on blending ragas

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Sometimes, his flights of imagination had led Tagore to such emotional moods, that the tonal colors available from the basic ragas were not adequate to express them. Under such circumstances he used his artistic liberty to blend ragas. This resulted in masterful combination of some of the known ragas producing unforeseen melodic shades of the highest artistic order. One sees such a marriage between the ragas Todi and Bhairvi in the song Rajani-r shesh tara. Another unparalleled confluence of Bahar and Basant is noted in the song Ami tomari shonge (vocal[by Sriradha Banerjee] or bandish[by Buddhadev Dasgupta]). There may be many more examples. However, in the context of this discussion, it can be mentioned that both of these songs have provided potent ideas not only towards framing beautiful bandishes but also creating new kinds of blended ragas.

What it means for a classical instrumentalist

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Evolution of new ideas in the realm of classical instrumental music inspired by Rabindra-sangeet is of more than incidental significance to some classical instrumentalists. An instrumentalist who has experienced, understood the classical appeal in Rabindra Sangeet and has succeeded in deriving useful ideas from it will obviously find his musical horizon widening much more than ever before. He will develop the insight to discover interesting and unknown corners of known ragas, which will not only apply to the derived compositions but also to the more conventional aspects of his playing like Alap and Vistar. At a more abstract level it might also have significant effects and possibly improvements on his perspective of thinking on ragas. The derived compositions, which as metioned before, have a very distinctive aesthetic ambience would considerably expand his repertoire. He will find himself in possession the magic key to an inexhaustible repository of ideas.

Conclusion

It is a known fact that classical musicians over all ages and centuries have derived musical ideas from classical as well as non-classical sources. In a sense, therefore, this example of Rabindra-sangeet inspiring creation of classical compositions may be interpreted as a repetition of history. However, a closer look suggests a difference. This lies in the artistic maturity of the source material in this case, so that a strong temptation to plagiarize must be resisted and the essence gleaned, and this can be an extremely challenging task.

Also, this endeavour has encouraged an interesting cross-influence. Some of the classical musicians have come down from their ivory towers and given Rabindra-sangeet its much overdue recognition. The exponents of Rabindra-sangeet by and large have welcomed this dialogue between these two islands of India's musical culture which were so far largely isolated from each other. For classical instrumentalists it opened up an extremely potent resource to excavate for newer ideas which are applicable to their own realm. Finally, the subtle yet long-term consequence could be to motivate future generations of musicians to enrich the realm of Classical Music from similar sources beyond the boundary their own domain

Published July 15, 2001

The world of Bengali art and culture, poetry and music or to be more precise, every minute aspect of Bengali life cannot be comprehended without this towering personality. Rabindranath Tagore is an all pervading presence in Bengali life and culture. Rabindranath or the songs of Rabindranath added a new dimension to the world of Bengali music. His songs breathe a whiff of fresh air in our worn-out, exhausted lives and imbue us with new spirit and energy and get rejuvenated. The songs of Rabindranath are the purest manifestations of ethernal life and all that man thinks, dreams, craves and pines far. Rabindra Sangeet can undoubtedly be regarded as the voice of mankind. Ironically, those divine songs of Tagore were initially not given due respect and recognition in our society. His songs were not regarded as 'classy' or 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' not even Rabindra Sangeet, 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 divine 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 saint 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 potential of Rabindranath as a lyricist and music composer. Rabindranath 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 kins 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 oxygen 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. In 1938, Captain Willard wrote a book in which he mentioned that there are many novel and exquisite elements in Indian music of which the Indians should be justifiably proud of. After this, the Bengalis were as if awakened from a slumber. Now the general focus was on north Indian classical music and the Bengalis started to cultivate it as Capt. Williard had particularly emphasized on north Indian 'gharana' of music. Saurindra Mohan Thakur had made an extensive study and research on ancient classical Indian music. So he decided to spread his valuable knowledge on 'Ragas' and 'Raginis' by authoring a book for the masses. Raga is one of about sixty musical scales, with rules for improvising on it whereas Ragini is a modification of Raga. Today, we should be immensely grateful to Saurindra Mohan Thakur because his invaluable book on the aforesaid subject had not only inspired the Bengalis to cultivate original Indian classical music but also salvaged it from the clutches of occidental music which was looming large in the traditional Indian society and culture. In the Thakur Bari (House of Thakurs) at Jorasanko, 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. 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 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, Calcutta 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 severel 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 were 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 viz., refined Indian classical music, different gharana or schools of music existing in different regions of India and 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) are 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 mbued 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 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 Hindusthani classical music, western music from all nook and corner of India. 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. Au reste, 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) etc. 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) Baro Asha Kore Kannada Song 3) Aaji Subho Dine Kannada Song 4) Sakatare Oi Kandiche Kannada Song 5) Bendecho 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. Au reste, 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 for ever remained a major key to the success of his timeless songs. To educe 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 to intensify 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 emit 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 such as Chautal, Dhamod, Adachautal etc. Incidentally tala implies rhythmic pattern of Indian music. 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, crced, 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 strifes and struggles. A glance at the following verses clearly indicate 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 ecstate 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 Satthi' 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 turists 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. Imterestingly, 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 are 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.

(Source: www.catchcal.com/kaleidoscope/music/songs_rabindranath.asp )

Seasons through Tagore's eyes

Dr. Mizanur Rahman Shelley

From time immemorial, the Bengali seasons and festivals have blended in a mosaic of thrilling colours. Bangladesh in particular and Bengal in general happen to be featured by clearly marked seasons. As every Bengali child knows, six evenly spaced seasons are part and parcel of life in these territories.

The seasons travel their pre-designed paths: scorching summer, 'Grishma', the months of 'Baishakh' and 'Jyaishtha' (mid-April to mid-June), gets submerged in downpours of the rainy season, Barsha--'Asharh' and 'Shravan' (mid-June to mid-August). The rains give way to the early autumn, 'Sharat', of blue skies, 'Bhadra' and 'Ashwin' (mid-August to mid-October). Then comes the late autumn, 'Hemanta', 'Kartik' and 'Agrahayan' (mid-October to mid-December) when fleecy clouds, laze in the sky, bright in radiant sun. Then it is the turn of sun-warmed winter, 'Sheet', 'Poush' and 'Magh' (mid-December to mid-February). Finally it is time for the Bengali spring, 'Basanta', the months of 'Falgun' and 'Chaitra' (mid-February to mid-April): the season of colourful flowers and love.

Seasons and life create a multi-coloured melange which is integral to the Bengali psyche. That's why the nation welcomes and bids farewell to each of the six seasons with appropriate festivals. Poets and lyricists join the people to sing in and sing out each season. Some of the most eloquent and touching poems and songs adoring the seasons of Bengal are found in the timeless creations of poet Rabindranath Thakur. Other prominent Bengali poets, such as, Kazi Nazrul Islam and Jibanananda Das, contributed their quota to the exquisite process of ringing in and ringing out the unique seasons of Bengal. Rabindranath was not profuse in writing about seasons. This may sound strange in view of the fact that his creative writings richly reflected the infinite variety of nature enveloping the entire existence of the people of Bengal. Rabindranath had a special nische in his mind for the rain-drenched days of Asharh and Shravan. His exquisite poem on 'Asharh', the first month of rains, strikes a responsive chord in every mind that knows the Bengali monsoon:

"Neel nabaghono Asharh gogone til thain aar nahire
Ogo aaj tora jasne ghorer bahire."
(There is virtually no space in the new deep dark-blue of the Asharh skies,
Take heed all of you, don't venture out of your homes).

Nevertheless, Rabindranath also wrote poems and songs extolling the season of rains.

Festivals marking other seasons find their place of pride in the writings of the great poet. Baishakh, heralding the beginning of the Bangla year and summer, was also the month in which the poet was born. The songs and poems he composed on Baishakh and the new Bangla year constitute a treasure-house in Bengali literature. An adorer of dynamism, Rabindranath found in the 'absconding clouds' of Baishakh, the dream of the mountains, which wanted to float like them. For him summer was the veritable beginning of it all. It stood for all that was new. He engraved in timeless letters an ode to his month of birth and wrote:

"Chiro notunere dilo dak
Panchishe Baishakh."
(The twenty-fifth of Baishakh sounds a clarion call
To that which is ever new).

He sought to usher in the first month of Bengali summer 'Baishakh' thus:

"Esho hey Baishakh, Esho Esho,
Taposh O nishasho Baye . . ."
(Come, oh Baishakh! come,
Breathing the fragrance of meditation. . . . ."

For Rabindranath the festivities of the Bangla New Year are charged with the significance of a dynamic renewal, forever and eternally a new beginning.

He also wrote in praise of Hemontika, the eternal feminine entity that one finds in the beauties of the late Bengali autumn.

Winter wears a cheerful and festive look in Rabindranath's writings. He does not find the winter-wind mercilessly cold as they find it in the West. On the contrary, the wintry breeze in Bengal makes the branches of the 'Amloki' tree dance in delight.

"Shiter Haway laglo Nachon, laglo Nachon Amlokir Oy daley daley . . ". He finds himself one with the festivals of winter harvest and new-food, 'Nobanno'.

"Poush toder dak diechhe aai re chole aai aai aai ..."
(Poush, the first month of the winter, has heralded a call for all of you,
Come one and come all).

This call is for participating in a festival of plenitude:
"Dala je tor bhorechhe aaj paka Phashale..."
(Your container is full today with ripe harvest).

Finally, the Bengali spring found its rightful place in a riot of colours in Rabindranath's writings. He writes cheerfully of the gifts that people make as Falgun walks-in with spring in its hands.

"Fagun hawai hawai
Korechijey daan,
Amar apon hara pran,
Amar badhan chara pran ..."
(I have contributed my selfless soul,
My soul bereft of all ties
To the Falgun breeze).

In other songs and poems also, the poet portrayed the joys and delights of the festival of spring, which he always found to be a season of everlasting hope.

The six seasons of Bengal throb with the pulsations of varied life in Rabindranath's moving poems and songs. These are indivisible from existence. That's why he wrote:

Jabar agay jani jeno
Amai dekechhilo keno
Aakash pane noyon mele
Shyamol Bashumoti ...
" ...Jeno amar ganer sheshey
Thamtey pari shame eshey..."
... Chhoyti ritur
Phule phale
Bhorte pari dala ..."
(So that I may know
Before I leave
Why the green Earth
Looked up at the sky
And call me to her lap
....Before I depart
I pray that
I may end my song at its peak.
...Have the fortune of
Filling my container
With the fruits and flowers of six seasons).

Committed to PEOPLE'S RIGHT TO KNOW

Vol. 5 Num 687 Sat. May 06, 2006

Growing Up With Rabindra Sangeet Fakrul Alam

Nice topic Adi. i can go on adding and adding and writing on this one subject 😃 Rabindra Sangeet is possibly my most fav. not a single day goes when i dnt listen to atleast one album of Rabindra Sangeet.

Rabindra Sangeet The Rabindra Sangeet refers to the complete range of songs and lyrical poetry written by the great poet Rabindranath Tagore. It embodies a breathtaking fusion of the musicianship and the poetic genius of Rabindranath Tagore. The Rabindra-sangeet has sheer beauty and lyricism combined with the exquisite embodiment of the classical genre. Many elements of Indian classical music have been used in an extremely intelligent and effective fashion in Rabindra-sangeet. The songs of Rabindranath Tagore are regarded as the cultural treasures of Bengal. They have varied themes which are immensely popular. They form a foundation for the Bengali ethos. The Rabindra sangeet has evolved into a distinctive school of music. The tunes of the songs are repetitive and dreary. It is a traditional practice.

The two important songs written by Tagore have become the national anthems of India and Bangladesh. They are "Jana Gana Mana" of India and "Amar Shonar Bangla" of Bangladesh.

Some of the well-known singers of Rabindrasangeet are:

• Pankaj Mullick
• Hemanta Kumar Mukhopadhyay
• Debabrata Biswas
• Subinoy Roy
• Kanika Bandyopadhyay
• Suchitra Mitra
• Rajeshwari Dutta
• Arghya Sen
• Sagar Sen
• Chinmay Chattopadhyay
• Gita Ghatak
• Purba Dam
• Ritu Guha
• Rezwana Chowdhury Banya
• Swagatalakshmi Dasgupta
• Sadi Mohammad
• Ashoketaru Bandyopadhyay

After reading the articles i began wondering about film songs based on Ravindra Sangeet. Off the top of my head i can think of these:


song: raahi matvaale, tuu chheD ik baar
based on: o re grihabaashi
film: Waris
singers: Talat, Suraiya (lopsided duet)
MD: Anil Biswas


song: tere mere milan ki yeh raina
based on: jadi taare naai chini go
film: Abhimaan
singers: Kishore, Lata
MD: Sachin Dev Burman


song: chhoTisi ik kalii Kili thii ek din baag me.n
based on: basante phuul gaa.nthlo aamaar joyer maalaa
film: Jurmana
singer: Lata
MD: Rahul Dev Burman


song: nain diiwaane, ek nahi.n maane
based on: she diin dujane
singer: Suraiya
film: Afsar
MD: Sachin Dev Burman


There surely must be lots more. After all, so many MD's were from the Bengal belt--Hemant Kumar, Kishore Kumar, Salil Choudhury, Timir Baran, etc and they regularly used Rabindra Sangeet tunes in hindi film.

Chhukar mere manko kiya tune kya ishara.... that is based on the sur of tomar holo shuru...amar holo shaara....

Then there was a Manisha Koirala film, the songs were on the same tunes as Rabindra sangeet... i think the rabindra sangeet is pagla hawa badal dine pagal amar mon ....

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Amar e gan chherechhe tar shkol longkar

Tomar kachhe rakhe ni ar shajer hongkar

longkar je majhe pre milnete aral kre,

Tomar ktha dhake je tar mukhro jhngkar.

Tomar kachhe khate na mor kobir grbo kra,

Mhakobi, tomar paee dite chai je dhra.

Jibon loe jton kori jodi shrol bshi gori,

Apon shure dibe bhori skol chhidro tar

Music and artwork

"Dancing Girl", an undated ink-on-paper piece by Tagore.
Tagore was an accomplished musician and painter, writing around 2,230 songs. They compose rabindrasangit (Bengali: ???????? ????? — "Tagore Song"), now an integral part of Bengali culture. Tagore's music is inseparable from his literature, most of which — poems or parts of novels, stories, or plays alike — became lyrics for his songs. Primarily influenced by the thumri style of Hindustani classical music, they ran the entire gamut of human emotion, ranging from his early dirge-like Brahmo devotional hymns to quasi-erotic compositions.[48] They emulated the tonal color of classical ragas to varying extents; while at times his songs mimiced a given raga's melody and rhythm faithfully, he also blended elements of different ragas to create innovative works.[49] For Bengalis, their appeal — stemming from the combination of emotive strength and beauty described as surpassing even Tagore's poetry — was such that the Modern Review observed that "[t]here is in Bengal no cultured home where Rabindranath's songs are not sung or at least attempted to be sung ... Even illiterate villagers sing his songs". Music critic Arther Strangeways of The Observer first introduced non-Bengalis to rabindrasangit with his book The Music of Hindostan, which described it as a "vehicle of a personality ... [that] go behind this or that system of music to that beauty of sound which all systems put out their hands to seize."[50] Among them are two such works: Bangladesh's Amar Sonaar Baanglaa (Bengali: ???? ????? ?????) and India's Jana Gana Mana (Bengali: ?? ?? ??); Tagore thus became the only person ever to have written the national anthems of two nations. In turn, rabindrasangit influenced the styles of such musicians as sitar maestro Vilayat Khan, the sarodiya Buddhadev Dasgupta, and composer Amjad Ali Khan.[49]

Much of Tagore's artwork dabbled in primitivism, including this pastel-coloured rendition of a Malanggan mask from northern New Ireland.
At age sixty, Tagore took up drawing and painting; successful exhibitions of his many works — which made a debut appearance in Paris upon encouragement by artists he met in the south of France[51] — were held throughout Europe. Tagore — who likely exhibited protanopia ("color blindness"), or partial lack of (red-green, in Tagore's case) colour discernment — painted in a style characterised by peculiarities in aesthetics and colouring schemes. Nevertheless, Tagore took to emulating numerous styles, including that of craftwork by the Malanggan people of northern New Ireland, Haida carvings from the west coast of Canada (British Columbia), and woodcuts by Max Pechstein.[52] Tagore also had an artist's eye for his own handwriting, embellishing the scribbles, cross-outs, and word layouts in his manuscripts with simple artistic leitmotifs, including simple rhythmic designs.