Albert Einstein and Rabindranath Tagore dialogue
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Shibuya Live Inn, Tokyo, Japan 2nd March 1998
Here's some -Blues-Indian Classical-Underground-'60's amazing gems from long time ago...
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Shibuya Live Inn, Tokyo, Japan 2nd March 1998
There are no longer 'dancers', the possessed.
The cleavage of men into actor and spectators
is the central fact of our time. We are obsessed
with heroes who live for us and whom we punish.
If all the radios and televisions were deprived
of their sources of power, all books and paintings
burned tomorrow, all shows and cinemas closed,
all the arts of vicarious existence...
We are content with the 'given' in sensation's
quest. We have been metamorphosised from a mad
body dancing on hillsides to a pair of eyes
staring in the dark.
J.D.M.
The cleavage of men into actor and spectators
is the central fact of our time. We are obsessed
with heroes who live for us and whom we punish.
If all the radios and televisions were deprived
of their sources of power, all books and paintings
burned tomorrow, all shows and cinemas closed,
all the arts of vicarious existence...
We are content with the 'given' in sensation's
quest. We have been metamorphosised from a mad
body dancing on hillsides to a pair of eyes
staring in the dark.
J.D.M.
1 comment:
T: Rabindranath Tagore; E: Albert Einstein
Rabindranath Tagore and Albert Einstein in Caputh, July 14, 1930
The second Einstein-Tagore dialogue, the one held in Caputh, 'was taken down by a friend who was present'. This time they began with a discussion of the nature of causality. On this subject the two men talked past each other without any understanding as to what the other was driving at. I do not consider it worthwhile reproducing here any of this. On the other hand, their next theme, on music is quite appealing.
T: The musical system in India...is not so rigidly fixed as is the western music. Our composers give a certain definite outline, a system of melody and rhythmic arrangement, and within a certain limit the player can improvise upon it. He must be one with the law of that particular melody, and then he can give spontaneous expression to his musical feeling with the prescribed regulation. We praise the composer for his genius in creating a foundation along with a superstructure of melodies, but we expect from the player his own skill in the creation of variations of melodic flourish and ornamentation. In creation we follow the central law of existence, but, if we do not cut ourselves adrift from it, we can have sufficient freedom within the limits of our personality for the fullest self-expression.
E: That is only possible where there is a strong artistic tradition in music to guide the people's mind. In Europe, music has come too far away from popular art and popular feeling and has become something like a secret art with conventions and traditions of its own.
T: So you have to be absolutely obedient to this too complicated music. In India the measure of a singer's freedom is in his own creative personality. He can sing the composer's song as his own, if he has the power creatively to assert himself in his interpretation of the general law of melody which he is given to interpret.
E: It requires a very high standard of art fully to realize the great idea in the original music, so that one can make variations upon it. In our country the variations are often prescribed.
T: If in our conduct we can follow the law of goodness, we can have real liberty of self-expression. The principle of conduct is there, but the character which makes it true and individual is our own creation. In our music there is a duality of freedom and prescribed order.
E: Are the words of a song also free? I mean to say, is the singer at liberty to add his own words to the song which he is singing?
T: In Bengal we have a kind of song - Kirtan, we call it - which gives freedom to the singer to introduce parenthetical comments, phrases not in the original song. This occasions great enthusiasm, since the audience is constantly thrilled by some beautiful, spontaneous sentiment freshly added by the singer.
E: Is the metrical form quite severe?
T: Yes, quite. You cannot exceed the limits of versification; the singer in all his variations must keep the rhythm and the time, which is fixed. In European music you have a comparative liberty about time, but not about melody. But in India we have freedom of melody with no freedom of time.
E: Can the Indian music be sung without words? Can one understand a song without words?
T: Yes, we have songs with unmeaning words, sounds which just help to act as carriers of the notes. In North India music is an independent art, not the interpretation of words and thoughts, as in Bengal. The music is very intricate and subtle and is a complete world of melody by itself.
E: It is not polyphonic?
T: Instruments are used, not for harmony, but for keeping time and for adding to the volume and depth. Has melody suffered in your music by the imposition of harmony?
E: Sometimes it does suffer very much. Sometimes the harmony swallows up the melody altogether.
T: Melody and harmony are like lines and colors in pictures. A simple linear picture may be completely beautiful; the introduction of color may make it vague and insignificant. Yet color may, by combination with lines, create great pictures, so long as it does not smother and destroy their value.
E: It is a beautiful comparison; line is also much older than color. It seems that your melody is much richer in structure than ours. Japanese music seems to be so.
T: It is difficult to analyze the effect of eastern and western music on our minds. I am deeply moved by the western music - I feel that it is great, that it is vast in its structure and grand in its composition. Our own music touches me more deeply by its fundamental lyrical appeal. European music is epic in character; it has a broad background and is Gothic in its structure.
E: Yes, yes, that is very true. When did you first hear European music?
T: At seventeen, when I first came to Europe. I came to know it intimately, but even before that time I had heard European music in our own household. I had heard the music of Chopin and others at an early age.
E: There is a question we Europeans cannot properly answer, we are so used to our own music. We want to know whether our own music is a conventional or a fundamental human feeling, whether to feel consonance and dissonance is natural or a convention which we accept.
T: Somehow the piano confounds me. The violin pleases me much more.
E: It would be interesting to study the effects of European music on an Indian who had never heard it when he was young.
T: Once I asked an English musician to analyze for me some classical music and explain to me what are the elements that make for the beauty of a piece.
E: The difficulty is that really good music, whether of the East or of the West, cannot be analyzed.
T: Yes, and what deeply affects the hearer is beyond himself.
E: The same uncertainty will always be there about everything fundamental in our experience, in our reaction to art, whether in Europe or Asia. Even the red flower I see before me on your table may not be the same to you and me.
T: And yet there is always going on the process of reconciliation between them, the individual taste conforming to the universal standard.
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