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Saying bye to
Vichitra Veena
By Vandana
Shukla
IT will pain the already agonised
hearts of the culturally-conscious that in a country of
90 crore people there are no takers for one of the oldest
instruments of the Indian classical tradition the Vichitra
Veena. Of the total number of three Veena
players in the whole of northern India, only two survive,
both now in the dusk of their lives, witnessing an almost
certain extinction of their beloved instrument. Pandit
Lal Mani Mishra from BHU died fighting for the cause of
the survival of this instrument to get a few students
sponsored by the government or some private agency. His
son, Gopal Mishra, has been running from pillar to post
for many years in vain. Now, it is only Shri Gopal
Krishan in Delhi who plays the Veena, sometimes
for the AIR and Doordarshan.Ramesh Prem, who hails from
Ferozepore, is now settled in Bombay is the other player.
He says that in a country where honours come only
posthumously, it is futile to expect any kind of
recognition for such a non-glamorous effort. The system
recognises only a chosen few, who are given awards after
awards, even though they have not made any original
contribution to the art. Even the media follows the
beaten track and people working quietly in small corners
remain marginalised.
This, in essence, is the
tale of this highly gifted couple who have been fighting
to protect the last bastions of a crumbling citadel of
traditional music.Ramesh and Geeta Prem are both gifted
artistes. He plays the Veena and she sings
melodies in the evening of their life. They do not
nurture any hopes for the revival of this instrument
anymore. At the same time, they say, they have stopped
being bitter about the apathy of the system. They have
quietly chosen their individual diversions Geeta
feeds and looks after stray dogs on the streets of Bombay
and is popularly known as Kutton wali auntie,
while Ramesh composes hymns in praise of his guru, Shri
Paramhansa Yogananda. His compositions have a deep
serenity expressed in the simple language of the heart,
like a soothing balm for the troubled heart.
A devotee of Yogoda
Satsang Society of India, he travelled from Bombay to
Chandigarh to pay his obeisance by playing his Veena
on the 47th mahasamadhi day of his beloved guru, whose
blessings, he says, have freed him of his agonies.So, if
other mortals have not embraced his instrument, its
fine with him. He knows his master has accepted his music
and this very thought gives him peace and solace. With
the blessings of the guru there is more music in his life
than it was ever before, he says.
Rameshs love for
music began as a forced diversion. His father, an eminent
lawyer who was writing a few books on law, found his
noisy children a nuisance. To keep them busy, he arranged
for a music teacher and Pandit Shruit Ratan started
giving lessons in vocal music to Ramesh and his
sister.Ramesh learnt his lessons faster than expected and
developed a discerning ear for the intricacies of ragas
and different talas, so, in the annual summer
sojourns to Nainital, which was a regular feature, a
tabla teacher was arranged for him at Nainital. Having
learnt tabla, he started playing the sitar and
continued playing it for many years.
Then, he listened to
Ustad Abdul Aziz Khan, the court musician of Maharaja
Patiala, playing the Veena on Lahore radio
station. The sound of Veena with its deep resonance
pulled him to this instrument like a magnet. He knew this
is what he had been wanting to play all the while.He
would listen to all the programmes of the ustad,
which were quite frequent those days, religiously for
about five to six years. It goes to the credit of Ustad
Abdul Aziz Khan that Veena was revived in these
modern times. Otherwise, it would have died long back.
Ramesh moved to Lahore and decided to learn under the
tutelage of the ustad. After five years of futile
chase for the ustad, Ramesh realised he had to
look for some other teacher. At the same time, he did not
want to compromise on the choice of his instrument.When
he met Mohammed Sharif Khan Poonchwale, son of Khan Sahib
Rahim Khan, the court musician of the Maharaja of
Kashmir, the ustad told him to pursue sitar,
since he found his baaj good on the instrument.
But at his insistence, he agreed to teach him playing the
Veena.Ramesh learnt playing the Veena in gayaki
ang. It was at his insistence that his ustad
taught him the meend style of playing the Veena.
Then came Partition and he had to leave Lahore, but he
brought along his love for Veena.
The desire for further
refinement of his art took him toAbdul Walid Khan
Kiranewale, who was his sisters ustad in
vocal music. The aesthetic ease and serenity of the Kirana
appealed to him, and through his single-minded
devotion he learnt playing the Veena in the gayaki
ang of the Kirana Gharana. Jawahar Lal Mattoo,
another illustrious disciple of Ustad Walid Khan, taught
him the intricacies of Layakari, the most
difficult and rare patterns of rhythm, like Aad, Kawad,
Khand, Rupak, Tipalli, which are often not
used by popular performers as they are difficult to
master. The audiences also fail to recognise and
appreciate the intricacies of traditional gatkari. What
they recognise is only faster beats in the Dogun
and Chargun style etc. It is for the wizards to
enter the arena of intricate gatkari. Prems
creative mind, not satisfied by mastering the tradition
alone, made many innovations in the instrument itself to
attain a wider canvas for his musical inspirations.
It takes 10 to 15
years single-minded devotion to get familiar with
this instrument. Mastery over the instrument takes even
longer.
A world ailing with
short-sightedness fails to recognise the depth of
serenity as well as pitfalls. So, when the winds of
change blow, they also remove what is precious and
preservable. It is to the credit of the Prems that they
have been holding on to this tradition against all odds.
Despite policy consolations of Prasar Bharati, there is
no system of royalty being offered either by AIR or
Doordarshan. Refinement of art often leads to refinement
of temperament. Prems feel incapable of making the rounds
of the corridors of power for personal gains.
Perhaps, the next
generations will get to see this aesthetically designed
instrument only through the glass panes in a museum,
devoid of its deep resonance, since it is only the touch
of deft human hands that makes it reverberate with music.
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