Evening Program

Ganapatipule (India)


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Evening Program, Ganapatipule (India), 03/01/1986

Concert of Guruji on violin.

55:54

Shri Mataji: Pilu.

Now, this is a raga of dedication, devotion.

Babamama: … He is going to play Des, raga Des. There are so much varieties in the ragas. Initially, it was decided that he would play Kalawati.

It has only five notes out of the twelve notes that are there, there are only five notes in this raga, therefore a lot of limitations. But you will say: “How he will develop?” With these combinations and permutations, the melody of the raga will be felt. And on this raga, the team of the ancient [unsure] was based. The entire ancient, the team of that ancient [unsure], the tune was on this raga, it’s a very popular raga. Thank you.

[Applause]

56:41

One more aspect of his style of playing the violin is very important which I must share with you, that though it has a solo status and it can be played in a different way, he plays it the way the singer –

[Shri Mataji is speaking in Hindi]

Babamama: The particularity of Prabhakara is playing is that he plays it the way the singer would sing the raga or develop the raga. That is known as the “gaathin gan” [singer ; singing]. Bringing out an instrument is quite difficult. Yesterday, you saw sarangi, it is designed to play the “gaathin gan”. The violin is designed for a solo performance but Prabhakara Dhakde is one of the many experts on this field who brings out the “gaathin gan” and that’s why the piece you saw you [enjoyed] so much. It will be elaborated by Shri Mataji.

Comment 1

Shri Mataji: Allo.

Now, as you have seen violin been played in Western music also, what you find that there is no lilt. Lilt is missing in the- it just goes on like a little while, stringing all the time then stops and these things. But the lilt is the continuation and the pulling of the sound together, making into a wave-like thing, is done in the Indian musical style when they sing a raga, melody.

Now, there are melodies of course. But the lilt of the melody is expressed better when you sing because you can take your voice in every way you like, you can pull it the way you like. Now, but in this one, especially the violin, where you are using the bow, then you have to keep a string in a way that it gives you the effect as if you are singing through your vocal cords, which is a very difficult thing. Vocal cords are under your control, you can do it- but here you have to all the time lift the bow and make the sound. So this is known as Gayaki, that means when you sing the same way. But our Western music, also singing is in beats. It’s not always continuous. When it becomes absolutely continuous – I would say Mozart- I will give him the highest marks in melodies. He’s so melodious.

In the same way, Tulsiram here [unsure], that’s the same style it is played. So, it’s very difficult to play on the violin. Basically, it’s a, you know it’s a Western instrument. But to use it for this, like sarangi is very easy to play in a Gayaki style. But this one to play, because its Western music adapted to Gayaki style, that is as you sing. So solo music is not the Gayaki style because it has its own sort of rendering. But when you accompany it with another musician who is singing, that is sarangi we use most, then it is called as Gayaki style and the same thing, if you can play on the violin, is a master’s job. So give him a hand.

[Applause]

Also in tabla, you have to understand that these are different beats and all the beats end up on the first one. Now, any number of these beats can be played to come to the first. But let’s say in these ten or these twelve or these sixteen, now all these permutations and combinations have to be in sixteen or ten, so they are all different.

So, to play them at that time is a master’s job again. Did you follow my point? It’s the numbering and the mathematics of it. So, this is what is a very difficult thing and unless and until it is in your, really in your central nervous system, I should say, on the myelin sheaths of your nerves you cannot do it.

1:01:44

So this is a great master’s job and a great tapasya. It’s not easy to master these things. So, give him a hand also.

[Applause]

Babamama: Another thing I would like to share with you is that Prabhakara Guruji Dhakde has never had any formal education in violin. He was a vocalist. He was basically a singer. And that is why it goes easy for him to translate his thoughts into violin and the gaathin gan, in the Gayaki way. Thank you.

[Applause; music starts]

1:02:24

Comment 2

We have to say goodbye to these great artists of Nagpur

and I hope one day we will be able to invite them aborad and you will have more chances of listening and enjoying this music.

[Applause]

It is a great pleasure to listen to Indian music because of the Spirit and the Kundalini

both are dancing. Its a joy

and you all have enjoyed it and appreciated it because of your self-realization.

May God bless you all for that

Everybody:

Jay Shri Mataji!!

Aaa these two great artists have shown how our Indian art of music

is so evolved, and so developed

and they have no notations before them.

Spontaneous, what you call utsphurt [in Sanskrit = spontaneous]

There are just Sahaj, the way they have played

according to the report between them and the audience

Something so rare and so beautiful

I do not think for the second [unsure] I ‘ll be able to give better music as it was this one

[Applause]

Maybe in Pune might be Pandit ..? [unsure]

but that,s the vocal music and this was instrumental

and I’m sure he will never forget it was so memorable.

[Music]