Originally hailing from Gwalior, the two exponents Rajendra Vishwaroop and Padmaja Vishwaroop carry the legacy of two rare instruments of the Hindustani Classical Music i.e., Surbahar and Vichitra Veena. Trained in Dhrupad style of music, they have learnt under the tutelage of celebrated artist Ustad Zia Fariduddin Dagar and have performed at several stages throughout the country. Notably, they also share a special connection with the city and Ustad Allauddin Khan Music Academy. In their words, “Gwalior is our birthplace but Bhopal is our Karmabhoomi.” Recently, they came to the city to perform at Badal Raga Samaroh at Bharat Bhawan, during which ‘The Hitavada’ interacted with the two over a wide range of musical subjects.

 

 

Q. Surbahar and Vichitra Veena are rare instruments and are not listened to often. Considering the same, how did you choose the instrument?

Rajendra Vishwaroop:- We started with Sitar and did our post-graduation in the instrument from Khairagarh university. After that, we thought of doing something different. At that time, the state government used to run a ‘rare instrument scholarship’ where I chose Surbahar and my Ustad was also at the spot. There, noted Sarangi maestro Ustad Latif Khan sahab told me that if you want to learn Surbahar then you should approach Ustad Zia Fariduddin Dagar, and in this way the journey started. Then, I used to go to the Ustad to learn from Gwalior, where my wife used to accompany me. During that time, the news of the death of Vichitra Veena virtuoso Pandit Gopal Krishna Sharma flashed on the TV screens and my Ustad asked Padmaja, “Sikhegi? (will you learn)”. And she replied, “if you will teach me, then I will”. And, she started playing Vichitra Veena. Previously, she used to play Sitar.

 

 

Q. There are different types of Veenas popular in the country namely Saraswati Veena, Rudra Veena, Mohan Veena and others. What is the story behind the origin of Vichitra Veena?

Padmaja Vishwaroop:- In the earlier times, Vichitra Veena was known as ‘Ghoshika Ghoshwati Ektantri Veena’. Today, it is popular as the present name. In the ancient era, 184 types of Veena were prevalent. Whereas in present, four among them are popular, two in North India (Rudra Veena and Vichitra Veena) and two in the south (Saraswati Veena and Gottuvadyam). Actually, this is a vedic instrument and the description of the same is found in the Vedas and Puranas. Gods have been also portrayed with this instrument and the revered poet Kalidasa and Banabhatt have also written about the instrument in Meghdoot in Kadambari respectively among others. Various tales are also heard about the instrument.

 

Q. It is often said that the present time is the era of Khayal singing whereas Dhrupad and Dhamar are the melodies of the past. Is it for real?

Padmaja Vishwaroop:- This is not the case. Prabandh form of singing emerged from the Samaveda through which Dhrupad came into existence. With the passage of time, Khayal emerged from the womb of Dhrupad. So, actually we are moving towards our roots. The alaps taken in this style are the best form of meditation. Alap is the main aspect of Dhrupad followed by Jod, Jhala, Gat etc. Our compositions are in the Brajbhasha. To cut a long story short, at all the concerts we did, it has been witnessed that the youngsters are attracted towards the art form and the instrument. They like the instrument and aspire to learn more about the same. Not just that, even the tiny tots display a lot of curiosity about the art form and instrument.

 

Q. You just mentioned that ‘Jo dikhta hai vo bikta hai’ and the art form has not been popularised and introduced to the youth. What do you think has caused the same?

Rajendra Vishwaroop:- When Mughals came to India, they didn’t destroy our art but also got assimilated into our culture. Khayal is a Persian word. We would have called it ‘Kalpana’ but it is not so. Similarly, Sitar basically came from Sitar which later developed through Veena. Interestingly, Veena was harder to play. That’s why, Sitar was taken by many. Coming back to Khayal, Daulat Rao Scindia, the then King of Gwalior liked Khayal style of singing upon which all the dhrupadiyas (dhrupad singers) started singing Khayal. At that time, the word of the King was the law and things changed with the likings of the King as they were the patrons of the art and artists. Similarly, Thumri came from Dhamar and Khayal came from the combination of Thumri and Dhrupad.

 

Q. Both instruments are quite heavy. How do you manage their weight especially while playing the instruments for long hours?

Rajendra and Padmaja Vishwaroop:- This is all due to practice. Yoga and stretching can also help in this regard. Also, carrying these instruments is also a big challenge for us.

 

Q. Market works on the dual forces of supply and demand. As your instruments are rare, do you have to face struggle in the availability of the instruments?

Rajendra Vishwaroop:- What will the instrument makers do if there are no takers for his/her instrument? He/she too has a stomach which needs to be filled. Similar things happened with Khayal and Dhrupad. Padmaja Vishwaroop:- There are generations of instrument makers. When they saw that Veena is not in trend then they also shifted to the popular instruments like Sitar and Guitar and others. Similar case is with the instrumentalists. Actually, there is a difference between ‘anand’ (bliss) and entertainment. The senior artists should address this issue on their level. There are media influences too which have led to such situations. Rajendra Vishwaroop:- But after a time, people are now aligning towards the tradition and seem like coming back.

 

Q. Can you recall your training days with you guru, Ustad Zia Fariduddin Dagar?

What are the salient features of your gharana? Rajendra Vishwaroop:- He was a musician par excellence. He appeared strict from outside but was a sensitive and protective human being. He was disciplined. I remember the time when we had to be present in the practice everyday at 4 in the morning. There, the singers used to practice Kharaj and the instrumentalists used to practice ‘Murchhana’. This was his legacy due to which we listen to Pandit Uday Bhalwalkar and Gundencha Brothers and other prominent artists. Talking about the features of the Dagar gharana, it lays heavy focus on Swar. Secondly, the nom-tom alaps are sung through the initials of a saying ‘Hari Om Anant Hari Narayan Tarn Taran’. This can be roughly equated to a practice similar to that of a beej mantra. Our compositions are also based on the gods and goddesses and the singing and instruments run parallel to each other.