Vichitra Veena: innovations and Practices: Article by Dr. Gopal Shankar Misra

Vichitra Veena, not often heard, is perhaps the most beautiful and most musical of all instruments. "Vichitra" means something unusual or peculiar. Having a long historical background going back to the Vedic Period, the "Vichitra-Veena" went through many changes in construction and playing techniques. It is a developed form of the ancient "Ghoshwati", "Ghoshika" or "Brahma-Veena". Till the early 20th century, the "Vichitra-Veena" was called the "Batta-been", the Veena played with "Batta" (a round smooth mass of stone). Due to the difficult playing technique, the descendants of Tansen preferred to use the "Rudra-Veena" and the "Rabab". As a result, the "Vichitra-Veena" almost vanished from the classical music scene in India. Even today there are very few players of the "Vichitra-Veena" but there seems to be a revival of interest in the instrument amongst music lovers. Few people are familiar with the "Vichitra-Veena", because musicians hesitate to adopt it. No one is aware of exactly when it came into existence.

It is popularly believed that Ustad Abdul Aziz Khan of Patiala, invented the instrument. But this is incorrect. Goswami Gokulnath (of the Bombay branch of the "Pushti Sampraday") was well known as an early "Vichitra-Veena" player. Abdul Aziz Khan himself began as a "Sarangi" player and only later adopted the Veena as his main instrument. It was he who popularised the instrument. He did not allow Vichitra Veena to be confined to "conservative traditions" of Indian classical music. He played "Thumri" and "Khyal" styles on Veena whereas conventionally "Dhrupad" style is supposed to be played on Veena. Whatever was done by Abdul Aziz Khan was a mixed blend of tradition and experiments for new generation. The message was well assimilated by Pt. Lalmani Misra.

Pt. Lalmani Misra basically was a Dhrupad singer and knew what the Tradition meant in Indian music. But he was a Thinker as well. He had the potentiality to lead the music world and guide it to a new era. Tradition was never a limitation for him, instead it was a solid base to move further for endless creativity and experiments to provide further solid base to new generation.

Breaking all so called orthodox-conventional barriers, he went on to explore the possibilities of creativity within the frame work of the Indian Classical music system. His innovations could be categorised into three different outlooks:

It has been said earlier that "Vichitra Veena" is a developed form of ancient "Ghoshwati" or "Ghoshika" etc. "Veena" itself is a name which was commonly used for stringed instruments in the past. It is evident from the historical facts that different types of Veenas were developed in different phrases of time and the name "Veena" got associated with different names. There are various types of Veenas mentioned in "Samhitas" ( संहिताएं ), "Upnishads"' ( उपनिषद् ) and "Shrutis" ( श्रुतियाँ ). For example; "Kathak Samhita" ( कत्थक संहिता 34-35) mentions "Kand-Veena" ऋ . मं.सं. 9-978-1032-4 mentions about "Van" - वाणस्य सप्तधातुरिज्जनः

"Marud-Veena" ( मरुद् वीणा ) has special place in "Rigveda Samhita"- "Sayana Bhashya". "Taittaraya - Brahman" ( तैत्तिरीय ब्राह्मण् ) also refers to it in महसे वीणावदनम् . In this period dance was accompanied by Veenas. By this time metallic strings were being used in place of "Munj" or "Dhruva". There were several other inventions of Veenas in "Sutra-Kala". "Latyayan Shraut-Sutra" mentions about Alabu-Veena and also mentions Sām-gān being played on Sheel-Veena (~~i 4--2-1- 195 10). "Shankhayan Shraut-Sutra" (17-1-3) mentions Shata-Tantri-Veena (a veena consisting of hundred strings). The same Veena was called Van in Vedic and Brahmin period.

Although the contemporary advanced form of Vichitra-Veena has been in existence for almost hundred years but even during this period its development process has continued it still awaits full-scale technical experimentation.

Pt. Lalmani Misra ji contributed very much to improve its tonal quality and playing techniques. First of all, he determined the "scale" best suited to this big instrument and found it to be the fourth black of the harmonium or almost "A" of western scale, which made the sound most impressive and powerful. For better tonal quality, he also changed the "string" arrangements. They are as follows:

Besides above mentioned strings, there are three "Chikaris" on left side of the instrument and two or one "Chikari" on the right side. Moreover, he experimented with and established playing techniques as well. Playing fast tāns on Vicitra-Veena is a difficult task, but still he made them so attractive by using powerful strokes to every note in particular. He also used intricacies with finesse. The use of Krintan on veena was his speciality. The double-chikari pattern system in Jhala was established by him only. In keeping with the complex and emanding nature of Vichitra Veena, he innovated a unique style of playing known after him as Misrabani. In this style he composed phrases on the basis of right hand bol-s.

Besides these, the mizrab bol-s of right hand were fashioned exactly as used in Sitar and other string instruments. For example,

Due to large size of the instrument distance between the notes are also wider, hence, whatever is reproduced in this instrument has to be very clear and precise, especially when it comes to Khatkas, Murkees and even Tān-s. Being a veena player, he was very careful about the placement of the notes and their accuracy. He was very logical about the use of particular note according to the consonance and particular-note combinations. For example, the use of Rishabh in Pancham dominant raga would be different from a Raga having Madhyam and Dhaivat dominance and Koma Gandhal would have differing aspects in Raga-s like Darbari Kanhara, Nayaki Kanhara or Miyan ki Malhar. Dr. Misra could demonstrate all such nuances with ease.

On the basis of his long experience and deep meditation he created six new ragas:

He believed that ragas are not mere combination of notes but they behave like human beings, with distinct individual persona. Hence every part of their structure should be balanced. Not merely does the artiste define, create and trace the persona, but in a perfect performance, he communicates with the Raga. Memorable are such recitals when this communication is carried out in a flaw-less state of total absorption. Now-a-days many artists make simple permutations and combinations of notes and phrases purporting to have created a new Raga while it is nothing more than a superficial exercise. A Raga is not the creation of ear alone but also of mind.

He also gave thought to many ques tions that may occur to a simple learner or novice and came up with lucid and reasonable answers to each.

(1) Why should Gorakh-Kalyan be called so as it does not evince Kalyan raga?

(3) How to determine time suited for Carnatic ragas like Charukeshi, when time theory does not exist in Carnatic music?

(5) How does modern Rishabh becomes at times Chatushrutik and at times Trishrutik?

As the questions above require a detailed and specific treatment it is not pertinent to discuss them here.

वीणा वादन तत्वज्ञः श्रुतिजाति विषारदः

तालज्ञश्चाप्रयासेन मोक्षमार्ग निगच्छति

This shloka from Yagya-Valkya Smriti is well known to many musicians and music lovers as well. The shloka is often used wisely or unwittingly, but the, question is that what kind of Moksha does a veena player well-endowed with qualities described in above shloka, attain? Does he get to heaven or does he attain freedom from the cycle of life and death? Or is some other kind of Moksha accorded to him?

There are different interpretations of this depending on whether one's outlook is materialistic or spiritualistic? According to Pandit ji (Lalmaniji) a practical approach to this philosophy would be the state when an artiste forgets about his identity and is completely absorbed in his or her music. Such a stage of absorption would spell Moksha for him, when rising above all materialistic feelings, he attains a state of blissful unnity with thought, sound and silence. If and when a listener gets absorbed in music to this level, he too may be said to have attained Moksha. The Ras scholars define this condition of artiste and enjoyer sharing the same ecstasy as "Brahmananda-Sahodar".

There is a state when an artiste does not have to think about Notes, Tala and Laya. They themselves come to the artiste and make a "call" to the artiste. Such was the great and accomplished artiste Sangeetendu Pandit Lalmani Misra, my father, my Guru, who left this world so early; otherwise the music world could well have understood the meaning of innovation.

Note: From a lecture presented in first-ever Veena Samaroh organised by Ustad Allauddin Khan Sangeet Academy, Bhopal on 15-16-17 March 1996.

References :

A Brief Introduction

Dr. Gopal Shankar Misra on wikipedia

Excerpts from Bharatiya Sangeet Vadya: Other Veena-s

Sonorous Sounds the Veena

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Vichitra Veena: innovations and Practices
By Dr. Gopal Shankar Misra

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Vichitra Veena: innovations and Practices

By Dr. Gopal Shankar Misra