For every conceivable human emotion, Rabindranath Tagore, who won the Nobel Prize for Literature in 1913 for his Gitanjali or Song Offerings, composed a poem or a song. Rabindrasangeet is that branch of Eastern music that encompasses lyrics with a tenor and a tempo created by Tagore himself. He himself had been of the opinion that even if all his literary works turned to oblivion after his death, his songs would remain and be sung for generations and generations.
Tagore’s songs have featured in films – both in regional and national levels like no other composers have ever had. Great music directors of the likes of S.D. Burman and Salil Chawdhury had utilized the lilt in the songs in their evergreen compositions. The tome Gitabitan, where all Tagore’s songs are published, is a magnum opus. One can turn to any page and find a song suitable for that time of the day or that particular mood of human nature. Tagore had also subdivided his songs into several categories – his own creations – according to the emotions, thoughts and vision inherent in these songs.
In Bangla, these categories that Tagore subdivided his songs are known as Parjay or Sections. The very first such section or parjay, in his Gitabitan, is Puja. Here a variety of songs are included which cover varied human emotions. The very first song in the Puja Parjay is Kanna Hashir Dol Dolano Poush Phaguner Pala.. [ In the swing of our laughter and cries, lies the story of winter turning to spring]. As the Bard of Bengal, Tagore composed his songs in such a way that they encompassed all the seasons around the year. The fourth song in the Puja Parjay – this is the section from where some of his more popular and famous songs belong – is Tumi Kemon Kore Gaan Koro He Gunii…. [ I wonder how you sing songs, thou talented one]. Tagore had composed songs of love – these appear at a later subsection – which often transcend the territorial borders of human love to that of a universal or spiritual one. In this particular song, the poet asks the singer and wonders how he can sing so well. We know that the epitome of creation begins only by destruction. It’s only when we begin to question our own integrity that we can build a stronger and firmer persona.
Tagore was writing at a time when the country was under colonial power and voices of protest and unrest were surfacing from time to time. It is believed that Mahatma Gandhi went to Santiniketan, stayed at ‘Shyamali’ or The Mud House and he loved to hear the composition ‘Ekla Chalo Re’ [Walk Alone]. The varied persona of Tagore can hardly be categorized. Yet the premise of this write-up is to concentrate only on his music compositions, those that the world knows as Rabindrasangeet.
After Puja, the next section of songs in Gitabitan, is Swades. These are mainly patriotic compositions written primarily to kindle the feelings of nationalistic pride and fidelity to one’s motherland, in the hearts of the countrymen. By the way, Tagore is the only music composer in the world who had composed the National Anthems of two countries – India and Bangladesh. The national anthem of our neighboring country, Bangladesh – Amar Sonar Bangla – is the very first song in Swades in Tagore’s Gitabitan. Tagore had the habit of travelling, visiting places, and sitting down to write immemorable compositions. While staying at Giridih, which is now in the state of Jharkhand, Tagore composed the song, “Bidhir Badhan Katbe Tumi Emon Shaktiman…” [ You are so strong that you’ll cut the knot of rules]. Satyajit Ray, the world-renowned and Lifetime Oscar-winning auteur director, had used this marvelous song in his film Ghare Baire – another novel and masterpiece from Tagore himself.
UNESCO recognized Santiniketan as a World Heritage Site as late as this year. The Visva Bharati University at Santiniketan, the brainchild of Tagore himself, has been the breeding ground of such creative minds like Nobel Laureate Amartya Sen and Ray too. Those were the days when the self came only later onwards. Probably that’s the reason why Tagore could implement the entire Nobel Prize money to lay the foundation stone of an entire new university – the meeting place of minds from the world over.
After Swades, the next section of songs in Gitabitan, is Prem or Love. The very first song here is: “Chitto Pipashito Re..”[ The heart is deliriously thirsty]. Here the love expressed in the song is hardly that of mortal or physical one. Instead, here the sense of longing for the magic of music of the human heart is called for. Tagore had delved into deeper human emotions in the songs categorized in this section. Tagore had experimented with the cantos of Hindustani classical music – the ragas, taals – to create the aura of magic realism that’s specific to Rabindrasangeet. These songs were sung during Tagore’s own lifetime by members of the household firstly and then by students and later exponents of this particular genre like Kanika Bandipadhay and Suchitra Mitra.
After Prem, the next category of songs belongs to Prakriti or those which are devoted exclusively to nature, its seasons and also its beauties and vagaries. The first song in this Prakriti Parjay is: ‘Biswa Bina Robe, Bishwa Jana Moheeche..”[ The rumor of universal music heptachord or vina is in the air, all mankind is charmed]. In this song – it encompasses an entire page of Gitabitan – the poet has encapsulated all the seasons, trees, flowers, music of days and nights thereof, in nature and her changing faces into a single song. Usually, this song is sung in a chorus to wring out the beauty and the charm inherent in it. The sixth song in this section is – in a sense – romantic because it talks about a full moon night. “Purno Chander Mayaye Aaji Bhabna Amar Poth Bhole…” [ In the illusion of the full moon tonight, my thoughts err their ways]. My own father used to sing this song – a personal favorite – very well. The noted exponent of Rabindrasangeet, Debabrata Biswas’s rendition of this song transports the listener to another realm of existence.
After Prakriti, come the songs under the Bichitra section. Here, the songs are based on various themes and subjects. There are as many as one hundred and forty songs here. The first song: Amay Khomo Hey Khomo, Namo Hey Namo…” [Oh pardon me, I bow to thee]. The versatile genius residing within Tagore, could not be constricted within the peripheries of just lyric compositions. Tagore had written as many as six dance dramas which are replete with at least a dozen songs in each of them. The dramas accordingly are Kaal Mrigaya, Balmiki Pratibha, Mayar Khela, Chitrangada, Chandalika, and Shyama. The songs which are included here are sung exclusively in their own creative beauty or else as part of the whole.
Death had touched the poet like no other poet of his preceding or succeeding generations. His wife, Mrinalini Devi, son Shamidranath, daughters Renuka and Madhurilata, passed away during his own lifetime. But the soul of the poet had been able to transcend personal tragedies and create lines of literary immortality that have withstood the test of time, place, and generations. Rabindranath Tagore was probably the first who represented Eastern literature to Western eyes. His novels, poems, short stories, and plays are gems through which every creative soul residing anywhere in the world, will empathize. And his songs are sung with the same amount of gusto, feelings, and emotions now as they were when the poet himself had been alive.
My father, whose household name was Robi – he was born on the same day as Tagore, 25th of Baisakh – had been a painter himself. But Rabindrasangeet, like most people of his own generation, was something which was very close to his heart and psyche. Among his favorite songs was one which I remember succinctly. “Jagate Anando Jogye Amar Nimontron…” [I am invited at the world’s sacrifice of happiness]. In fact, this song was sung at his condolence memorial service. Among the songs which have had memorable cinematic adaptations, lie one which appears foremost in my mind right now. “Je Rate Mor Duyar Guli Bhanglo Jhore..” The film director Ritwik Ghatak had used this song in his film Meghe Dhaka Tara.
The entire oeuvre of Tagore’s creative genius was first and foremost published by Visva Bharati University Press. Gitabitan is hardly an exception to this rule. It was published during the tenure of Tagore himself with additions and chronological arrangements from the poet. Santiniketan or ‘The Abode of Peace’, has remained with the same vision with which Tagore had first laid the cornerstone for his dream project of a university – quiet, calm, and peaceful. Indeed, the world comes together under the aegis of this renowned University.
Tagore died in 1941. But no one can compete with the stature or the varied personality that the literary virtuoso had. He had composed songs which, in those days, could be sung with the accompaniment of the esraj. Later onwards, the harmonium and the tanpura were used, along with the tabla to keep up the rhythm or loy of the songs.
Love Rabindrasangeet and see the world in a haze of clear vision.