Madaling chords ng gitara ng Introduction ni
Yehudi Menuhin

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Verse 1

Rabindranath Tagore

was born in 1861.

Rarely has the observance

of a centenary

served a more timely purpose.

In a world of infinite complexity,

straining towards universality,

its jagged disparities

confronting each other at close quarters,

while concurrently its frontiers in space recede to new worlds,

individuals, individual man tends to seek reassurance and stability

in conforming to one or another

restrictive cult or method.

The artist, the scientist,

the politician, the business manager,

rebellious youth, the priest,

or the professor,

each entertain a particular and

mutually exclusive vision

of a well -integrated world,

each embodying some particular uniformity,

whether votes for all or food for all,

art or science or cars for all,

each time true up to a point,

but invalid as an exclusive principle.

In Tagore, we find that rare

human being,

a whole man, part artist,

part teacher, part God,

and mainly a very great warm

human being.

Tagore, as other great men,

cannot be conveniently reduced

to some slogan or cult.

He, as Beethoven or Da Vinci,

proves that the poet in his ivory tower,

the educator sharing

and thereby multiplying his

knowledge and experience,

the painter transferring his visions

to us in color and shape,

the philosopher who

interprets

life's phenomena and mysteries,

the musician in touch with infinity

and the depths of heart and soul,

the humanist compassionate

and deeply understanding

of his fellow men and women.

Tagore proves that these many attributes,

rather than being mutually exclusive,

are in truth mutually strengthening

and can and do indeed dwell

in the same breast.

One of his greatest achievements

was to revive in the people of India

a sense of their own culture in song,

in poetry, and painting.

His poems, however, were mostly composed

in the language we share in common,

in English.

The present recording of

songs from the opera Shyama

can illustrate but a frac

tion of Tagore's vast output.

It must remain inconceivable,

not only to the wage earner,

but to an artist as well,

that men like Bach, Mozart,

and Tagore

each created works

which it would take more than one

lifetime only to copy.

His musical activity alone

has bequeathed us some 3 ,000 songs,

and he is said to have written a poem

every day of his life.

Certainly,

contrary to popular belief,

quality is intimately allied to quantity,

both by volume of experience

an d by competitive standards.

Perhaps in listening to these songs,

Tagore may communicate to us something

of the humanist inspiration

which led him to such vast works

and great deeds.

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Madaling chords ng gitara ng Introduction ni Yehudi Menuhin