"In the beginning there was The Word."
The Bible is not alone in acknowledging the profound power of sound. Indeed, the
further scientists probe into the source of causation itself, the more it is revealed that
everything is simply vibrating energy, and everything effects everything else. We
shouldn't be surprised, then, to find that such consciously focused vibration as music has
an acute affection the environment as well as on such sensitive organisms as ourselves.
It was once quite common to relax after a hard day's work to the luxuriant sounds of a
favorite record spinning away on a turn table, amplified by the warm glow of tubes
driving speakers that were honored pieces of furniture. This scenario has been replaced
by the over stimulation of TV and now computers, with stereos devolving into glorified
clock
radios.
Into this ironic arena comes Maharishi Mahesh Yogi, the founder of Transcendental
Meditation, always in search of ways to bring human life into deeper accord with the
fundamental integrity of creation. Among his many projects, he has been reviving the
ancient science of music known in India as Gandharva Veda. Although basically synonymous
with the classical Indian music made famous by the likes of sitar master Ravi Shankar,
Maharishi has restored its original focus as a pure expression of the consummately subtle
balance of nature, rather than the performance orientation it has gained in recent times.
It may seem an indiscernible difference, but as a performing musician myself, I know how
intention alone can change everything. In this case, the intention is to promote harmony
in the physiology, psyche, and environment of the listener. It's even suggested to play
the recordings around the clock, even when no one is present, with different pieces
corresponding to the natural cycles from sunrise, to sunset, to sunrise.
My first chance to really appreciate the effect of Maharishi Gandharva Veda was about
ten years ago when I purchased a set of the vocal tapes. At the time, I lived in a
one-room studio that housed my workshop, as well as my bed, kitchen, and office. It was
just after10:00 p.m., so I put on the tape designated for 10:00 p.m. to 1:00a.m. Now this
is the time that Ayurveda, the ancient Indian system of health, prescribes for going to
bed. I, however, being self-employed and living in my workspace, was just sitting down to
burn a bit of midnight oil, when the leader on the tape gave way to the most haunting
cosmic moan that had ever found my ears. Dumbstruck, I stopped before I started. It was
clearly not time to indulge work holism. I walked over to my bed, lay down, and picked up
abed side book. No dice. This music demanded full surrender. Having no choice, I closed my
eyes and floated away into something far more sumptuous than sleep.
Dozens of concerts and CDs later, we have the subject of this article, the latest
releases, two sets of eight CDs or tapes each. Of particular interest are the artists
chosen for the projects. The musicians have always been awe inspiring and the recording
quality exemplary, but for these, my own excitement peaked when I heard that they had
commissioned two of my long-time idols. Hari Prasad Chaurasia and
Shiv Kumar Sharma are the recognized masters of bamboo flute and santoor. Even their names
inspire ecstasy in myself and all who know them. The selfless devotion with which they
have given themselves to this venerable tradition has enabled them to become that
tradition, expanding it along with its audience. Both have significantly evolved the
technique, pundit Sharma having totally redesigned an instrument that was considered by
the orthodoxy as incapable of scaling the heights of Indian classical music. He persevered
alone, eventually vindicated with the highest honors. Both have received the prestigious
Sangeet Natak Academy Award, among numerous others.
If you have never heard Indian bamboo flute, the lush, liquid resonance will bring the
hair up on the back of your neck. With Hari Prasad at the helm, the long opening notes
will engulf you with the depth and breadth of the fathomless ocean. As the raga
progresses, the ease with which the waterfall of buttered notes fall from his fingers will
disarm you.
Shiv Kumar Sharma's delicate touch on the santoor has quite a different effect. A
relative of the hammered dulcimer, the santoor is he ancestor to the piano, with a much
more ethereal tone. Shiv Kumar's playful innocence belies an inscrutable subtlety that
draws one in to a delight-filled place, unknown yet familiar. Although each melody is
designed for a particular time of day, they also each enliven a different quality such as
peace and devotion, celebration and joy, success, or relaxation. Two of the santoor
recordings can be played at other times as well. Whether these would be your first
introduction to the wonders of Gandharva Veda, or you are looking for something new to add
to your collection, I can't recommend them more highly.
(Tim Britton is an acclaimed Irish piper, member of the band Sage, and owner of Pied
Piper Productions, promoting the magic of music through the finest handmade instruments,
stereo equipment, and recordings)
