All stringed instruments are believed to have originated form the hunter's bow having since passed through several stages of evolution. The primitive bow after its transformation into the veena in due, course, spawned numerous string instruments throughout the country. These ranged from the single-stringed Brahma Veena to the multi-stringed 'Shatan Tantri Veena', more commonly called santoor. The Vichitra Veena, is a variety of which people know very little, even though it is believed to be the earliest form of the veena and also the most divine, often associated with invocation of the gods and meditation.

Dr. Mustafa Raza, an exponent of the Vichitra Veena, performed recently at the India Habitat Centre under the HCL concert series. A doctor by profession, Dr. Raza traces his lineage to the illustrious musician, Main Tansen. He belongs to the 'beenkar' gharana of Moradabad and Patiala. Grandson of Ustad Chhajju Khan, Dr. Raza received his initial tutelage form his father, Ustad Ahmad Raza Khan, a widely acclaimed 'beenkar'.

Talking about his unique instrument, Dr. Raza says, "The instrument has a fretted finger-board with four strings for playing the notes and three drone-cum-'tala' strings. 'Nada'-the melody of the veena-is infused into the instrument form its inception, but the 'dhvani' or the sound produced depends on the playing technique."

A fifth generation musician, Dr. Raza had no regrets in forsaking a career as physician "for the sake of family, tradition". "I was in awe of my ancestors and wanted to add to their contributions to music. Moreover, the Vichitra Veena is an instrument which was not played by many people, so there was a lot of scope for me to do great deal," he says.

Despite being glorified in ancient Indian texts such as the Samveda', why isn't it at the zenith it so deserves. Dr. Raza finds answers in the "lack of commitment towards pure classical music on the part of the performers". "Also, the Vichitra Veena is quite a difficult instrument to play, so much so that the sitting position in which it is played is a special 'asan' which not everybody can practice. There are no short cuts to learning and playing this instrument. It needs total and penance-like involvement. Today's musicians can probably not give the kind of patience and dedication that it demands, "he adds.

He minces no words while blaming the media for the kind of oblivion in which the instrument it at present. "We have a tendency to salute only the rising sun. The case is no different with the even either. It is very important to break the myth that the veena as a very difficult instrument to understand. The idea is to enjoy music, not to measure it in terms of strict parameter," he said.

The concert and his music definitely showed this. He began with a solo 'alaap', which is an elaboration of 'ragas' in slow tempo. His expression and conception of the unity of raga. The 'jor', a fast tempo and the 'jhala' that followed were delightfully done. The trance-like solo performance was sheer fluidity of sound. If there was trance, there was the simple lucidity of meditation as well. The tide come and when it did, it swept you off your feet. The synchronisation between the veena, the table (played by Gulfam Sabri) and the pakhawaj (played by Fateh Singh Gangani) was perfect. Both the sound and the technique wove magic. The percussion during the 'vilambit' and the 'drut' performance was sheer energy. The recital concluded with 'jhala' in very fast tempo.

Commenting on the powers of classical music, Dr. Raza said, "Classical music can bring an end to was because it brings people closer by erasing all boundaries."

It was a great evening that hopefully world usher the entry of the 'beenkar' into our lives.