Evening program, Classical Vina Recital, Bangalore (India), December 8, 1991

[Shri Mataji’s speech at 1:53:10]

[Applause]
We are all so very thankful to you for rendering such a meditative instrument like this holy vina. They know about vina and they know that this is one of the Adivaadyas [primordial instruments]. Also mridangam [percussions] is an Adivaadya and ghatam also is Adivaadya. I must congratulate the South Indian music style in which they have maintained those Adivaadya.

But in the north India, these rhythmic instruments have taken another form like tabla. But mridangam has its own depth and its own feeding, especially for all devotional music, mridangam is used even in the north. Now this is ghatam, you have seen, it’s like a Kumbha. And as you know we call the Kumbha is where the Kundalini rests. And the Shiva is the one who plays the rhythm. He is the rhythm. He’s the creator of rhythm So, this combination is so beautiful! And see how simple is this instrument. Even look at vina. It is made from pumpkins and that is made from wood. Such a simple instrument and the depth of this culture! The depth of these great people, these artists, is bringing forth such highly evolved musical melodies, that in the West you cannot produce. I can tell you this way.

Look at the rapport between these people complete rapport. There’s no need to tell him anything or to tell anything, nothing to know the notations, nothing. Just extra rapport. All permutations, combinations, everything. Now you are all awakened people, you are all Realized souls, so you are now feeling the AUM within you so you are appreciating it. And I’m sure, if you take to this music, you can reach the same heights and same deeper meanings of life.
The music was extremely meditative and the Kundalini was dancing all the time. You all enjoyed it. We had some great composers, but they were composers. They composed the music and that was to be produced. Here also, the music that he sang like bhajans and all that, are written by great poets, also composed, this provision that you can enlarge it the way you like; the permutations and combinations, you can go on. This provision was not there and now as a result of that, people are going amok with their music. So, we have to understand that the same, that composition that you had, with that, you can create your own, whole atmosphere.

For example, like Darbari Kanada. It’s a very majestic raga. I always felt, on vina, it would sound better [unclear], much more resonance than any other instrument. And in Darbari he played, really he made the whole Darbar [Persian word; court] before me. Also, the raga like Malkauns, all these ragas are very majestic ragas, better played on vina than on sitar. See how many fingers he’s using
how many strings he has to press. And they are so unassuming people, so humble.
As he said, “Vidya vinayena shobhate [Knowledge graces by humility]” if there is ‘vidya’, if there is talent, it must have ‘vinaye’, it must have permit [unsure].

I hope some of the Sahaja Yogis will take to this and will pick up these things. Why not? You are all Realised souls. Because you are Realized souls, that’s why you are appreciating this music.
Otherwise, you could not have. have. Because this music comes from Aumkara, from Chaitanya itself. That’s why you appreciating it. And as you develop taste for this music, I’m sure some of you will, one day, come to the lotus feet of some great Guru here, and would produce beautiful music. Because this music has not to die.

You are a great audience, they appreciated you very much. They felt like expressing themselves more and more. And this audience must increase and this music should go on. Like, you had Mozart, nobody listens to Mozart. They had discovered that many tapes that they had made were not sold, of Mozart.

[Cut in the video]
Shinewas Arke Murti. Now you see, Arke is the name, should be taken first, because that’s the name of his father. So, we have. And the father was mister? 9:01
Musician: Arkesho Murti.
Shri Mataji: Arke?
Musician: Arishkesho Murti.
Shri Mataji: Aris. Aris?
Musician: Arishkesho Murti.
Shri Mataji: Arishkesho Murti. 9:08
Now this gentleman is a very well-known person. He was a ‘Viduana’, [unsure] it means he was a very scholarly person of vina. Very well-known person. And then his son is now keeping the tradition of his father. It’s very great and I’m sure some of the young people from this group will come and would learn this from you.
[Applause]

On the mridangam, we have mister Prasanna Kumar. I know what is the meaning ‘Prasanna’ is. And he really has made me ‘prasanna’ [happy].
[Applause]

What masterly work he did! Masterly. You have heard tablas, but you have not heard so much of mridangam. And see the depth of it, the control, the rendering. And of all the things, a complete rapport with the musician. Like, in the North Indian music, if they are playing variations called mukras, then the artist just plays the laya, he doesn’t play the music. They are never combined. But here, you see, both are combined. What an understanding it is!
Same with Mr Dyana, who is a ghatam player. He’s just taking- [Applause]

I’m very proud of you, sir. All of you that you have done such a great work for me, that they have realized what wealth lies in this country. And this is all, comes from Divinity. All for Divine, that’s why. It’s not meant for something cheapest stuff. But it is to please the Divine. And that’s why they are so pleased and so very happy, and they’re all enjoying. They don’t care for food, you know, nothing.
Musician: And mister Subramanyam on tanpura.
[Laughter]
Shri Mataji: No, no. You see, do you see? [Applause]
Musician: I’m sorry.
Shri Mataji: Yes, yes. Mr Subramanyam, on tanpura, was playing here, and was also giving tala (rhythm) all the time.
[Applause]

Though the talas are named differently and have different beats also little bit, but they can be compared easily with North Indian with North Indian, like Kaharva (8 beats) and jhaptal (10 beats) and also you can say, ektal (12 beats).
So, there is not too much of a difference. As some of you are learning tablas, you should understand that it’s very easy to learn from there to this. But what I feel more, that the way he played the music, also in the North Indian style, which is really remarkable, so much. It’s very remarkable. One day I’ll tell you what is the difference between the two is. You might not have found out. And how difficult it must be for him to play on vina, these difficult deep ragas. And he has done it. So, we have to give him a big hand.
[Applause]

[2:02:10]
If you want, you can see this vina, ghatam and this thing. You can see this. you can come closer and see what it is like.
Sahaja Yogi: Shri Mataji, Prasanna is his brother.
Musician: He is my brother.
Shri Mataji: Is he?
Musician: Yes.
Shri Mataji: What a combination! Wow! Mr Prasanna Kumar is his brother.
[Applause]

I bless you all, with all my heart, all my heart. Be proud with this service, be proud. This is the greatest heritage, greatest [unclear]. You should not [unclear]. You want to see? Just show them. It’s a good [unclear].
They play tabla.
Musician: Who plays on tabla? You also or somebody? This is mridangam. This is vina, very traditional instrument, we call Sarasvati vina.
Shri Mataji: It is different from sitar. Sitar has 2 threads and more notes.

Musician: We have 24 frets here. 24 frets.
Shri Mataji: Sitar, you have 18. He has 24. See that. And he places the two fingers on this, and sometimes with four fingers also. Did you see the notes, how do they sing?
[Unclear conversation from 2:06:41]

Sahaja Yogi: What is this?
Musician: This is supporting, supporting, to keep this.
Musician: This is made out of jack wood, jack wood. This is [unclear], This is metal.
Shri Mataji: Because [unclear], much bigger than sitar.

Sahaja Yogi: Magnetic. Like electric waves.
Musician: Electric. Ah yes, It has vibrations, it has control.
Musician: It’s all Mataji’s blessing. Otherwise, we are not as late like this.
[Applause]
Musician: You would like to see, all of you?
[Applause]

Shri Mataji: You have seen the picture of Sahaja Yogis. It’s different from tabla. This other side

2:08:50
Musician: That Divine power is there, that makes me to play. Divine power makes me to play like this. I was not playing. It was only Divine power. It was coming from you Mataji.
[Applause]
Because you told that.
Shri Mataji: Yes, of course. May God bless you all.
It’s a surprise, isn’t it? What a surprise! But the larger comes from Shiva. Nandi and Shiva and also [unclear], because, you see, Anahat is there. Anahat, without note. And this is Shiva’s heart. He resides in Anahat. They are all Shivaists and they worship Shiva very much.
[End of video]