The Rudra Veena, an ancient and nearly forgotten Indian musical instrument, is believed to have been created by Lord Shiva while contemplating the perfect beauty of his consort Parvati. Its association with Shiva, whose Vedic name is Rudra, made it a beloved instrument of yogis and ascetics, who used it as a means to unite ritual and meditation.
In an era where the Rudra Veena is considered rare, very few musicians are dedicated to preserving its nearly lost sound. Carsten Wicke, originally from Germany and now based in Kolkata, is one of them. His journey into Indian music began in the 1990s, driven by his fascination with Dhrupad and a deep spiritual connection to Indian classical music.
A disciple of Ustad Asad Ali Khan, Carsten has mastered the Khandarbani style of the Rudra Veena and has worked tirelessly to both preserve and promote the instrument’s tradition, even crafting his own Rudra Veenas to ensure the sound and soul of the instrument are passed down through generations.
His Journey to India and Indian Classical Music
Carsten Wicke’s journey into Indian classical music began in the 1990s. At the time, he was studying at university, living with a partner, and working as a DJ in nightclubs. His partner attended meditation classes, and after one such session, a few people left behind some tapes and CDs, one of which featured Zakir Hussain playing the tabla. Carsten was stunned by the speed of Zakir Hussain’s playing, finding it almost impossible for a human to perform such magic with just one’s fingers. This intrigued him, and he felt drawn to the music like never before.
The following day, Carsten joined his partner for another meditation class and was fascinated by the bhajans being sung. This experience deepened his desire to explore Indian culture. Feeling a calling that his life was about to change, Carsten dropped everything and headed to India when the Berlin Wall came down, making the world more accessible. He stayed at an ashram in Delhi for a while.
Similarities Between India and East Germany
Having been born and raised in East Germany, Carsten found that the cultures of East Germany and India were surprisingly similar. Both regions had somewhat closed societies at the time. East Germany was isolated due to closed borders, limiting opportunities and exposure to different lifestyles. Life was simple. When Carsten arrived in India, he felt a sense of familiarity because materialism and development hadn’t yet permeated the region, much like East Germany before reunification. As life in East Germany became more accessible after the Berlin Wall came down, Carsten returned to a simpler way of living, which eventually led him to discover the Rudra Veena.
Transition to the Rudra Veena
Initially, Carsten’s immersion in Indian music began with tabla training under Pandit Anindo Chatterjee. During his second visit to India, Carsten traveled to Kolkata, India’s cultural capital, where he became engrossed in the city’s music culture, particularly the semi-classical and Dhrupad styles. It was during this period that he was introduced to the Rudra Veena through recordings.
Fascinated by the instrument’s unique sound, Carsten set out to find a Rudra Veena. However, in the 1990s, finding one was nearly impossible. The instrument had become so rare that Carsten realized he might be more likely to find it in a museum than on a stage. He even visited museums to learn more about it.
It was through meeting Peter Hennix, a Swedish disciple of Ustad Zia Mohiuddin Dagar, that Carsten was introduced to his guru, Ustad Asad Ali Khan, in Delhi. Ustad Khan accepted him as a disciple, and Carsten eventually found a Rudra Veena, albeit one in poor condition, to begin his training.
The Decline of the Rudra Veena
Carsten acknowledges the irony of the Rudra Veena, an ancient instrument, fading into obscurity in the very country of its origin. He attributes this decline to several factors, including the passing of prominent Beenkar school maestros like Ustad Zia Mohiuddin Dagar, a lack of interest in the instrument, and the absence of a dedicated audience. Veena manufacturers began to close down, and many skilled artisans failed to pass their craft on to the next generation.
Carsten points to Murari Mohan Adhikari, the last traditional veena maker from Kanai Lal & Brothers in Kolkata, who crafted Rudra Veenas blending traditional and modern elements. After his death, no one continued the craft, and many instrument makers refuse to work on the Rudra Veena due to superstitions surrounding it, believing that without proper puja, bad luck or even death may follow.
Efforts to Revive the Instrument
Faced with the scarcity of Rudra Veenas, Carsten took it upon himself to craft his own instruments to create the sounds he sought. He incorporated elements of the Dagarvani Dhrupad tradition alongside the Khandarvani Dhrupad style taught by Ustad Asad Ali Khan, aiming to keep the instrument’s legacy alive.
On the Indian Audience and Cultural Perception
Carsten believes that India’s failure to sustain the tradition of the Rudra Veena is rooted in cultural perceptions. While India does have a handful of Rudra Veena players, the instrument was largely ignored until the West began embracing classical music in the 1950s and 1960s. It was only after the West’s acceptance of Indian classical traditions, particularly the Dhrupad tradition, that the Indian audience began to show interest in their own heritage. Unfortunately, Carsten feels that traditions are often undervalued in their home country until they gain international recognition.
Western Music vs. Indian Classical Music
Carsten has expressed that if he had only known Western music, he would not have pursued a career as a musician. He does not mean to dismiss Western culture but emphasizes the differences between the two musical traditions. He notes that in Western classical music, particularly with instruments like the violin, musicians typically play fixed compositions, with limited room for improvisation. In contrast, Hindustani classical music, particularly Dhrupad, offers much more room for exploration, with even a single line from a composition being explored for long periods. Carsten was drawn to the freedom of improvisation in Indian classical music.
He also finds the approach to vocal training in India fascinating, as the voice is considered the most important instrument in Indian music, a concept that deeply intrigued him.
Spiritual Connection with the Rudra Veena
Carsten believes that music, particularly through the Rudra Veena, can be a deeply spiritual experience. The instrument’s history, as seen in ancient temple architecture, shows that it was never intended for mere performance or entertainment, but rather for connecting with the sound in a deeply introspective way. The Rudra Veena has always been about transcending the basic acts of survival and moving into a space of liberation. Carsten feels that through the Rudra Veena, he has had the opportunity to connect with the divine sound of ‘anahata naad,’ a rare and sacred experience in Indian philosophy.
Life with the Rudra Veena Today
Carsten’s life with the Rudra Veena is unique, as it feels “out of time.” He points out that large-scale Indian classical concerts, which were once common, have declined, and today, most concerts are smaller, private affairs driven by love rather than financial reward. These intimate gatherings, with small audiences of dedicated listeners, allow Carsten to connect with the music on a deeper level. He experiences these moments more often in the West but has seen a similar shift in India, particularly in places like Auroville and Kerala.
Despite the challenges of pursuing a career with such a rare instrument, Carsten jokes that learning the Rudra Veena is a form of “professional suicide,” given its lack of financial rewards in today’s market-driven world. For many, learning the Rudra Veena is more about self-development than pursuing a performance career.
The Future of the Rudra Veena
Carsten is cautious about predicting the future of the Rudra Veena. He believes it will be appreciated by those with a meditative mindset, as the instrument demands deep listening and introspection. However, he is concerned about the commercial pressures in the music industry that often force artists to compromise their artistry in favor of marketability. He maintains that Indian classical music, at its core, is spiritual and should not be reduced to just another genre of world music.
On Fusion Music
While fusion music is often sought after by organizers for its appeal, Carsten does not feel the need to blend his cultural background with Indian classical music. He believes Indian classical music is complete in itself and does not require fusion to stay relevant. Though fusion music can sometimes produce interesting results, Carsten feels that most fusion music today lacks balance and fails to do justice to both traditions involved. He avoids fusion, not because it isn’t viable, but because he doesn’t feel the necessity. Should the need arise, he may explore fusion, but only as a means to keep the art alive, not for popularity or branding.
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