Rabindranath's creative genius, found manifestation in almost every sphere of fine arts. The most outstanding among his creative works are his songs which are a breathtaking  fusion of his musicianship and poetic genius and such a fine blending of intellect and emotion. Rabindrasangeet  has not only withstood the test of time for more than a century now, but has also secured a unique place for itself in the Indian subcontinent's musical culture, and moved beyond its cultural borders to influence and haunt the imagination of the western musicians and philosophers. However, the objective of this essay is not to deliberate on the beauty and depth of Tagore’s songs. Rabindrasangeet is now an accepted genre of music, and there are countless works  by Tagore scholars which discuss the influence of Indian classical music on his creative genius. The intention of this essay however, is to explore in some measure, in what ways and to what extent has Rabindrasangeet, in its turn, influenced the more traditional forms of music and its exponents. There has been undeniably a pronounced influence of Rabindrasangeet on some of the noted classical instrumentalists of North India. Though this might call for  some debate over the rationale and the extent of potential of this influence, there are far too many precedents in its favour. This essay is an attempt to investigate, certain features in Rabindrasangeet, which has triggered this kind of influence on Indian Classical instrumentalists and the consequences of this phenomemenon.

 

Traditional features in Rabindrasangeet

 

Certain features of Indian classical music have been fused sensitively and intelligently in Rabindrasangeet and this is indeed one of the most distinctive attributes of these songs. To what extent the classical music was to be fused in Tagore’s songs was dictated principally by the perceived requirements of the mood evoked in the song.  An overt application of elements derived from classical music would have conflicted with this requirement. Therefore the application of classical features, more often than not, have 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 colour of the raga in almost total conformity to the sentiment of the song, he adopted the raga in its entirety. There are again certain instances, where the original classical compositions were adopted faithfully in respect of both melody and rhythm, to Tagore’s Bengali lyrics. The urge to evoke a particular mood to his own satisfaction, often led Tagore 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 this creative effort which led to some of his most beautiful and intellectually challenging compositions.

 

The influence of Rabindrasangeet 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. Rabindrasangeet 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 Rabindrasangeet on Classical Instruments and Instrumentalists

 

The pioneering attempt to play a Tagore song on a classical instrument was by the sitar maestro,  Ustad Vilayat Khan Sahab. He adopted the popular Tagore 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 of Rabindrasangeet .

 

The next example in this regard was set by Pt. Buddhadev Dasgupta, the renowned sarodiya. Being a person with cultural roots in Bengal, he might have had a greater exposure to Rabindrasangeet in general. Out of the numerous classical compositions he has derived so far from Rabindrasangeet, there are examples of transformations inspired by a variety of different aspects of music, 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 Rabindrasangeet experts like Shubhash Chowdhury. Such was the story of experimentation with these kind of compositions in the arena of  Indian Classical Music in the sixties or seventies decades. The initiation had been cautious and measured, considering the conventional mind-set of most of the contemporary musicians and listeners. For example, Pt. 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 sarode gat based on Rabindrasangeet"!                                                                                                                                                                                                                                                                   The Endeavour 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. Initially, 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, they 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 these 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 these compositions were sweepingly described as "Rabindrasangeet played on sarode". This was a totally inappropriate description as well, as the compositions, more often than not, were quite different in their overall melodic construction, rhythmic orientation and tempo than the original Rabindrasangeet 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 about the true characteristics of these compositions. This led to the formulation of certain experimental presentations featuring exponents of Rabindrasangeet 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 Hindustani music), with adequate explanations in between. One of the earliest presentations of this kind was featured by Doordarshan Kendra, Calcutta with Pt. Budhhadev Dasgupta, Sri V.Balsara (the famous pianist and film music personality) and Sri Ramanuj Dasgupta, (one of the then contemporary upcoming Rabindrasangeet singers). The programme was extremely well received. Noted personalities from the sphere of Rabindrasangeet 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 programmes were staged over the following years, with other eminent personalities from spheres of classical music and Rabindrasangeet, volunteering to take part in such ventures. There have been quite a few presentations of such nature featuring Suchitra Mitra and Budhhadev Dasgupta, Subinoy Roy, Ravi Kichlu and Jaya Biswas and many others. Programmes on this theme were accepted and presented by the AIR and Doordarshan on a number of occasions. Following suit, the Sangeet Natak Academy also funded a  project on this theme. From then onwards, this creative endeavor has been formally received  and  has been accepted by the connoisseurs and listeners of classical music as also by 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 programmes focusing on classical compositions derived from Rabindrasangeet. The interesting thing to note here is that just as the stage is shared by Rabindrasangeet singers and classical instrumentalists, the galleries too are shared by listeners of Rabindrasangeet and Indian classical music.

 

The Aspects of transformation

 

The course of evolution of this interesting creative confluence in music, encourages us to take a closer look at the aspects of transformation it involves. A few examples from the works of  the sarode maestro, Pt. Budhhadev Dasgupta, (whose contribution in this regard has not only been a pioneering one, but perhaps also the most profound and exhaustive), would serve to explicate the aspects of musical transformation very well. The compositions derived by him have 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 Rabindrasangeet on sarode. Certain ideas are taken from the original Rabindrasangeet 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 as certain salient features taken from the song are represented using the elements of sarode vocabulary. The resulting composition however could consequently differ to a considerable extent from the original song that inspired its creation. The difference mostly is on counts of rhythmic construction or tempo but sometimes also in the details of melodic construction. The similarity however, 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 Tagore had focused 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. 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 koro borishono”, based on Raag Tilak Kamod. This was the inspiration for a beautiful, medium tempo (madhya laya) sarode 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” , 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” , 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 Pt. Dasgupta, and has been rendered by him in many of his important concerts. 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

 

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 sarode 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, Pt. Budhadev Dasgupta’s first inspiration to derive a sarode composition from Rabindrasangeet. 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 teental. A scintillating fast  teental composition of Khambaj was created from “Amar kontho 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 from 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 religiously 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 Bhairavi, “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 teental. There are more examples of this nature, such as “Shey kon boner horin” (Hemant)  or “Shopney amar mone holo” (Hameer).

 

(Re)Discovering old classical compositions

 

Most of the songs composed by Rabindranath Tagore, are characterized by their outstanding individuality, both from the point of views of lyric and melody. But there are instances where we also find him faithfully adapting the melodic content of the old classical compositions. 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, Tagore never hesitated to follow them with complete faith. This was perhaps his tribute to a rich tradition of classical music. Hence in some of the songs like “Shukho hin nishi din”,  or “Shunyo hatey phiri hey”, we find priceless classical bandishes, faithfully captured and set to outstanding poetry. Even playing these songs in 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

 

Sometimes, his flights of imagination had led Tagore to such emotional moods, that the tonal colours 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 Bhairavi in the song “Rajani-r shesh tara”. Another unparalleled confluence of Bahar and Basant is noted in the song “Ami tomari shonge”. There are many such examples. However, in the context of this discussion, it can be mentioned that songs of this kind, 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

 

Evolution of new ideas in the realm of classical instrumental music inspired by Rabindrasangeet is of more than incidental significance to some classical instrumentalists. An instrumentalist who has experienced, understood the classical appeal in Rabindrasangeet 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 Alaap and Vistaar. At a more abstract level it might also have significant effects and possibly improvements on his perspective of thinking on ragas. The derived compositions, as mentioned in the essay, have a very distinctive aesthetic ambience, which would serve to considerably expand his repertoire. He will find himself in possession of the magic key to an inexhaustible repository of ideas.

 

Conclusion

 

It is a known fact that classical musicians have always derived musical ideas from classical as well as non-classical sources. The example of Rabindrasangeet 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. Moreover, this endeavour to connect Tagore’s songs with the classical genre of music has encouraged an interesting dialogics of cross-influence. Classical musicians often so positioned in their ivory towers, have accorded Rabindrasangeet its much overdue recognition. In a similar fashion, the exponents of Rabindrasangeet by and large have welcomed this dialogue. The otherwise two secluded genres of Indian music have reached out to  each other for a creative confluence. For classical instrumentalists this musical dialogics has opened up an extremely potent resource to excavate newer ideas which were previously applicable to their own realm. Finally, the subtle yet long-term consequence of this overlapping musical conversation between two different genres could be a motivation for the future generations of musicians to enrich the realm of Indian classical music from similar sources beyond the boundary of their own domain.

 

Note:

 

An earlier version of this essay was published in Parabaas, e magazine.