An year long festivities, exhibitions and cultural programmes have been inaugurated in Bengal to mark the 150-th birth anniversary of Rabindranath Tagore. Continueing with my posts of Tagore's Selected Letters, the great polymath who invented Bengal's own music idiom - 'Rabindra-sangeet'- compares the distinctive styles of Indian music and European music. The Letters are written while touring to his family-estates as a manager, living in his house-boat off the Padma river.
Shelidah (Bangladesh)
10 August 1894
Last night the river woke me with a violent bubbling that made the boat billow in the swell - probably the inrush of a freshet: a thing that happens almost daily in this season. As I sat listening I suddenly had the impression that the whole river was alive and highly agitated. Through the planks at my feet I could clearly sense the gamut of ceaseless movement below : tremors, quakes, upheave and downturn, as if I were taking the river's palpitating pulse. The disturbance must have been quite something to set the water racing so wildly.
The day-world calls to mind European music with its various concords and discords, orchestrated into a great, purposeful ensemble. And the night-world is like the sphere of Indian music with its unadulterated melody, sombre and poignant. Both move us, though they are in striking contrast. And why should they disturb us ? Pairs of opposites lie at the very root of creation : king and queen, night and day, unity and disunity, the eternal and the evolving.
We Indians are under the rule of night; we are besotted with the eternal, the One. Our melodies are intended for the solitary individual; European music is for the multitude. Our music removes us from the domain of everyday joys and sorrows to a region devoid of company, as aloof as the universe ; the music of Europe revels in the perpetual oscillations of the human condition.