Evening Program

Avignon (France)


EN


Transcribe this talk yourself
Send Feedback
Share

Musical program, Avignon, France, 07-07-1990

Shri Mataji: Give her a chair.

Give her a chair otherwise she won’t be able to play harmonium.

Ah, [Hindi]

Can you keep it up there? Ah. On that.

[Hindi]

You can move that.

Come on. Have a sit there.

Sahaja Yogi: We would like to present you with a “Bharood” [Marathi religious song] by Sant Eknath. It’s a song that, in a style that is designed to teach people what will happen to them if they don’t behave in a, in the correct way.

In this particular song, Sant Eknath is talking about what happens to people if they’re not if they trick people badly. If they are rude to them if they cheat them. Sant Eknath gives example in particular of Duryodhana who took Draupadi and humiliated her in his court and it was eventually his brother, the brother of Duryodhana drag Draupadi into the court to be humiliated. And was eventually punished by Bhishma, punished by Bhishma in a dual.

In the same way, Ravana who kidnapped Shri Sita was duly punished by Shri Rama. And so on in many cases.

In reality, there are only four people that Sant Eknath mentions who are free from any kind of problem in his regard. For example, Bhishma and Hanumana, those two are examples.

Sant Eknath concludes the song advising us to be sweet with each other and not to abuse each other. Otherwise- cause if we do, then our fate is a very ugly one.

Babamama: Give me a microphone for tablas.

Shri Mataji: When standing, they will wait.

Sahaja Yogi: Yes.

Shri Mataji: So, all of you can sit there like this only.

Patrick!

Sahaja Yogi: Yes.

[Music starts.]

Sahaja Yogi: We have another song for you. This time it’s a village’s song, a folk’s song from Uttar Pradesh. The context of the song is a group of villagers on a way to a festival at Prayag in the month of Magha which is January or February. And Prayag is a place where the two holy rivers of India, Ganga and Yamuna, meet. So, in the first verse, the villagers are singing the praises of Prayag where the rivers meet, and for this reason, it’s a holy place, a place of pilgrimage.

In the second verse, they explain how Ganga comes from Haridwar, which is also a place of pilgrimage, because Ganga has come down from the heaven in that place. So it has come from Haridwar, which is a popular place of pilgrimage, to Prayag which is also a place of pilgrimage.

[Music starts.]

Lady [on harmonium]: Come here, on the same line. You go a little bit that side.

Lady [on harmonium]: Ok, very good.

Shri Mataji: Ah! This reminded me of my own marriage when I went to my husband’s house. They all used to sing like this only there. So, it’s wonderful, the way they have sung it, absolutely with complete pronunciation, everything, it’s wonderful. I was just enjoying it. Thank you very much. And I hope you all have enjoyed too.

[Applause]

Lady [on harmonium]: The group of students who are sitting in front of you, on the stage, have been learning classical music at Garlati house near Milano, I hope you – all of you know Garlati house. And they covered about seven ragas. Among these ragas, they learnt Marva raga which is the favourite raga of Shri Mataji. And they will sing what we call the chutta khayal [composition] in ektaal [12 beats]. First, they will sing the aroha [ascending scale] and pakad [melodic theme] of raga Marva and then sargam [singing notes].

Shri Mataji: Aroha is ascend

Lady [on harmonium]: Aroha is, are the ascending notes of the raga. And Avaroha are the descending notes of the raga. And pakad are the group of notes typical of that raga, so that the raga can be recognized when those notes are sung. And they are singing the chutta khayal in ektaal. And before singing the chutta khayal, they will sing sargam. Sargam, they will sing also in double rhythm. And chutta khayal, they will sing with alap and taans [first and second part of the raga].

I hope all of you will like it and Shri Mataji will also like what they sing in the present.

[Music starts.]

[Applause]

[Cut in the video]

Lady [on harmonium]: Is a prayer composed by Guru Dev Rabindranath Tagore in raga Bhairavi. “Antara Mama Bikoshito Karo, antara tara hey.” The devotee is praying to the God that: “Let my inner being be enlightened.” “Nirmala karo, ujjwala karo, sundara karo hey.”

Nirmala, you know: Shri Mataji’s name is Nirmala, pure. Absolutely pure.

“Mangalo karo” make it holy and make it beautiful. So, this prayer is being sung by the students who were studying semi-classical in raga Bhairavi and this will be the last song.

[Music starts.]

[Applause]

[Cut in the video]

Babamama: In a bus and we had a lot of discomfort in the sense that we were not feeling free. But when we came into this wonderful land of Italy, we were feeling very, very free and we were also feeling very hungry. Maybe, it has something to do with the Nabhi, I’m sure.

But then, in order to keep my Sangeet Sarita members happy, I was trying to sing a raga which is known as Chandrakauns. It’s a very, very dynamic raga. And close to that raga is another raga known as Malkauns. And there is a difference of only one note in these two ragas. And, as I was singing I was talking to Guruji and I was saying that if we add this note of one raga into another, I think we will create a beautiful raga.

And he immediately got up and he started singing with that additional note and a new raga was born. Just, just in the bus, a new raga was born. And then, we had to give a name and Guruji gave a very, very dynamic very sahaj name: he called it “Chaitanya Ranjani” [vibrations; to be rejoiced] which will entertain your Chaitanya.

This is a raga which is going to be played for the first time. Even in India, my sister will bear me out that this has not been played before, anywhere. So, you can imagine what’s a headache is done to this poor Babamama who knew very little about music. He’s gone so dynamic that he is creating ragas!

[Laughter]

[Applause]

Babamama: This will be played to you by one and only Guruji on the violin and our young artist Naseer khan.

Guido, could you please take down completely… as it is obstructing the view. It has to be removed completely.

I was discussing this raga with other sister; where is she? I can’t see. She must be sitting on side. So, she was saying us to: “How could you create this raga?” And she herself replied: “It is because of your concentration in music.” “That, that is because you put your heart and soul in something and you will achieve.” So, when you have to have creativity, your attention is the most important equipment. So, you put your attention on something and you are bound to create if your attention is fully on that subject.

Out of the twelve brothers and sisters that we are, my dear sister is a subtle artist and was blessed with this voice and the gift of music and we used to have music every day in the house. I was a very playful boy, but in between, I used to go and listen to this music. And that has been registered with me and it is coming so helpful now so that we can transfer this culture of India through this music to all the Sahaja Yogis. It’s a tremendous feeling.

Now, I will first tell you as to what the two ragas are and then I will tell you how they have been blended. So you will be able to appreciate the difference.

First, a very brief introduction of the members of the Nirmal Sangeet Sarita who are on the stage: Sandesh Popatkar on the tabla.

Then our Guruji, mister Prabhakarji [Dhakde] on the violin.

And, two years ago this young artist Nasser Khan was here, he was then the baby of the team. He has lost that status of being a baby because he’s become, he is going to become a father very shortly. And- but his sitar has improved immensely over the two years.

And now I will ask Prabhakarji to first play the ragas as they are. The two ragas. Now, first, he will play the Chandrakauns. One minute, the tuning.

Now, this is Chandrakauns he is playing.

Now, this is the original raga, Chandrakauns.

Pakad notation.

Acha [Hindi]. Now, I’ll ask Naseer to play Malkauns. See the notation.

The only difference of one note.

Now, the new raga. Only the notations.

OK. Now, the “Chaitanya Ranjani” for your Chaitanya. Thank you.

[Music starts.]

Antonio, people here can come here in the front.

Shri Mataji has suggested a new name for this raga. Since this is a gift from the disciple to the guru, and guru is synonymous of Purnima that is the full Moon, Shri Mataji says that this raga should be called “Chaitanya Purnima”. That means –

[Applause]

I think this is the biggest award a disciple can expect from a guru, that She has blessed this raga with a very wonderful name.

Jai Shri Mataji.

[Applause]

Naseer Khan, sitar player: You are lucky because Shri Mataji is speaking about you. All of you.

Chers amis, [Dear friends,] bonsoir. [good night.]

[Applause]

Thank you.

[No sound.]

Because I wanted to drive in Rome, I wanted to drive, so I said: “We will take the car.” So we took the car and as you know that it’s very difficult to find parking in Rome, like in Paris, yes. More difficult. So, for about twenty minutes, we went around, around and around, looking for a parking place. Twenty minutes later, I suddenly noticed a small gap in front of the restaurant. I took my car and I went into this gap. And in front, there was a poster of Shri Mataji smiling.

[Laughter]

[Applause]

The smile on that poster was very knowing.

I’m very- I’m very touched and very moved that we have been chosen as one of the musicians to play in this elated evening. Indian classical music is based on ragas, melodies which we call ragas, and ragas are emotions, ragas are mood, it’s an emotion. And different ragas have different emotions. And this evening, I chose to play a raga called Puriya, raga Puriya.

[No sound.]

Shri Mataji: Tomorrow is, as you know, we are going to celebrate the Guru Purnima. And all these artists, whom you see here, have become such great artists because of their dedication – of course through the art- but through their gurus. Complete dedication. And this is the key of their success: complete dedication to the guru. And to master any art, you have to have dedication and surrendering. And that’s how these people have achieved such heights of perfection. That they have followed their gurus out and out absolutely, completely surrendering. And that is why today I’m happy that we have so many artists here, especially such a great artist of such fame before you. But if you ask him, he ‘ll tell you that he had to go through penance to master this art. And his own father is his guru. So what a difficult situation must be for the father or for the son. But as far as the art is concerned, there is no compromise. In the same way, as fas as spirituality is concerned, there is no compromise. Maybe, your guru is your Mother, but still, no compromise.

So, may God bless you.

[Applause]

[Music starts.]

Thank you very much for appreciating him so much. Actually, it is a tremendous speed, you see, the speed with which and the balance. Balance and the speed. We are living in a age of, we are living in a age of a jet, you see, we’re living in a age of speed and in that speed, we have to keep the balance and the rhythm. That’s what you have to learn is to keep the balance and the rhythm and then you have to come to the first beat, that is the Spirit. So, how you are bound, may go anywhere with any speed, keep the speed, keep the balance and come back to the same first beat which is the Spirit, is the– that’s how it works out.

And the speed with which he is playing, I tell you, this is a very great, modern also, a kind of a blessing that there is a speed in the atmosphere. And everywhere there’s speed and – but in that speed to have the balance is only possible when you practice what you call “riyaz” is quite deep and you do it with your whole attention and whole heart. Then only, otherwise it’s not possible such a speed that he has. What a tremendous speed! [Hindi]

Speed [inaudible] -you see, have you noticed the speed with which he was playing? And have you noticed the balance that he had? And how he was rhythmic?

Rhythm, he never missed, you see, he’s very good as we call it the [inaudible] [Shri Mataji laughs] like.

So he is, tablavala is another-

Babamama: Tablavala is very sahaj Mother.

Shri Mataji: Sahaj! And he is absolutely relaxed and he is playing so well. He’s beautiful. And that is what kind of a tablavala you need for a music like this where he has to be most unassuming and he is supporting all the time the artist, should be the point.

I’m very happy you all are enjoying it so much and that you are appreciative of him cause, after all, it’s a – we have been brought up in this kind of [inaudible] style. In my family, from my childhood, I have been earing nothing but classical music and all my life. I’ve never known even one minute in my house then, where the music is not there: somebody singing in this room or somebody singing in that room, whatever may be the situation, there is music on. So, for my ear it is tremendous but to my heart also. And the way he has played, I must thank him very much on your behalf.
From his heart, he has played, from his heart.

Naseer Khan: It’s only to her presence that this can happen. You all know this also.

[Applause]

[No sound]

Naseer Khan: “Avion” [plane] means “air” isn’t it? “Wind” in French. “Avion” is wind.
Babamama: He says it is “guide”avion” is “guide”.
Naseer Khan: No, “avion”, “avion”.
Guido: “Avion”?
Naseer Khan: Is what?
Guido: “Avion” is aeroplane.
Naseer Khan: Aeroplane. There’s a lot of “avion” in the Avignon.
[Laughter]

Shri Mataji: If you see, the sitar he has got a rakhi to it, you see? You all know what is rakhi is. So the sitar is his sister. And the sisterly love is the purity of love, absolute pure love, you see. And the sister is the protector of the brother. So, this is how they tie rakhi to a sister, you see? I hope you have noticed it.

[Hindi]

Shri Mataji: There is a circus on and it’s a nice contrast to see the difference between the two. [Shri Mataji laughs]

Shri Mataji: This is the raga which is called as Durga as you must have heard it before also, and it’s quite a difficult raga and also it is only with the five notes it is played and there’s very few ragas like that. And one of them is Gunakali raga which is also played with the same style. And I was surprised that in certain countries, they only know one raga. Like Bhairava, it’s a- it’s the only raga they know in Iran. Whether it is morning, evening, afternoon, they sing just that one raga is Bhairava. And I was surprised, I heard Gunakali in Japan.
Naseer Khan: Ah, ah.
Shri Mataji: Japanse have only idea of Gunakali, I don’t know how they got it. But only Gunakali nothing else.
Naseer Khan: Absolutely.
Shri Mataji: Absolutely. That’s all. One raga they are masters.
Naseer Khan: They are mastering that raga.
Shri Mataji: One, but morning, evening, [Hindi].
And in a way, these ragas are morning ragas. Bhairava especially is a raga all the time they sing without any discrimination. But this is the time for Durga really. Just before awakening the mother is calling that: “Get up now and meditate.” Ah! How beautiful it is, just see.

[Music starts.]

Talk at : https://youtu.be/NcI7HK471xo?t=19287