Tagore once wrote: “এত লিখেছি জীবনে যে লজ্জা হয় আমার। …তবে সবচেয়ে স্থায়ী হবে আমার গান, এটা জোর করে বলতে পারি। বিশেষ করে বাঙালিরা…যুগে যুগে এই গান তাদের গাইতে হবেই” (“I have written so much in life that I feel ashamed…However, I can say confidently, my songs will remain for eternity. Especially for Bengalis…throughout the ages, they must continue to sing these songs.”)
Yet, before the canonization of Rabindrasangeet, there was a notable absence of a comprehensive assessment of the Bard’s remarkable mastery of melody and lyrics. Despite the high regard held by many for Tagore, diverse opinions regarding his musical compositions have always existed. During the 1900s, the dominance of the Hindustani Classical singing tradition extended its influence over the entire landscape of Indian music, including Bengal. Professional vocalists from Lucknow, Varanasi, and other regions frequently travelled to Bengal, further shaping the musical milieu. Consequently, the contemporary influence on Tagore’s songs resulted in artistes deviating significantly from the original compositions and positioning them as a mere offshoot of Hindustani music.
One such instance can be traced back to 1904 when Dwijendranath Bagchi recorded “কেন যামিনী না যেতে জাগালেনা” (“Why did you not awaken me before the night perished”). Noted by scholars as the first song of Tagore to be commercially recorded and marketed, Bagchi performed the song entirely differently from what Tagore intended, changing the notation, lyrics, and even omitting certain stanzas. In 1905, Manadasundari recorded “মাঝে মাঝে তবে দেখা পাই” (“I envisage you every now and then”) which, although composed in Raga Kafi, was sung in Sindhu Raga, taking complete artistic liberty to modify the original creation.
The same year Purnakumari Dasi recorded “আমি তোমাকে জানি, আমি জানি” (“I know you, I do”) as “তোমায় চিনি গো চিনি তোমারে ওগো বিদেশিনী”. Apart from the change in the opening verse, she also made several other alterations, infusing her interpretation into the composition.
Despite the distortions, Tagore had limited recourse to take action without any copyright restrictions. At that time, these songs were labelled as “Rabibabur gaan”, a shocking devaluation of Tagore’s intended artistic expression, rendering him a commercialized entertainer than a poet. The early recordings lacked the exquisite poetic beauty that later became synonymous with Rabindrasangeet. Tagore’s name was conspicuously absent as a credited lyricist on record labels, highlighting a lack of recognition for his profound contribution.
The devastating harm to the integrity of “Rabindrik” ethos due to these audacious recordings continued until the poet resorted to legal measures. Dr. Purnendubikash Sarkar noted that on March 10, 1915, Tagore’s solicitor, Khagendranath Chatterjee, wrote a letter to the Gramophone Company claiming royalty for a song composed by the poet. Subsequently, Rabindranath Tagore became the first songwriter in India to receive a royalty.
Further, on October 5, 1926, an agreement was signed which made obtaining the poet’s explicit approval obligatory for any recording of Rabindrasangeet. This contract played a pivotal role in upholding the true visage of Tagore’s music, untainted by commercial interests and misrepresentation.
Between 1926 and 1928, Tagore personally recorded numerous songs and recitations, such as “Krishnakali” and “Karnakunti Sambad”, perhaps to showcase the intended renditions of his compositions.
But the term “Rabindrasangeet” was yet to gain popularity. It is believed on December 27, 1931, Dhurjatiprasad Mukhopadhyay wrote an essay titled “রবীন্দ্রনাথের সংগীত” (Rabindranath’s Music) for Tagore’s 70th birth anniversary, in which the term “Rabindrasangeet” was used for the first time. In January 1935, Kanak Das’s recording P11792, featuring “মনে রবে কিনা রবে আমারে” (“Whether or not I remain in your recollection”) and “কাছে যবে ছিল পাশে হল না যাওয়া” (“When you were near, I couldn’t reach you”) first used “Rabindrasangeet” on the label.
Starting from this juncture, Rabindrasangeet became a genre, essential in shaping the musical and cultural fabric of Bengal. Renowned artistes such as Amala Das, Suchitra Mitra, among others, emerged as the torchbearers. Tagore’s melodic compositions transcended boundaries, offering vitality and life not just to a nation or community, but to the core of human experience itself.
