Collected Works of Nolini Kanta Gupta - Vol. 3

THE difference is both in regard to the source and the ex­pression and in an inverse way. In European music a very high – spiritual – inspiration is a rare thing. The psychic source also is very rare. But if at all, it is a very high spiritual source, or otherwise it is the vital that is the source. The expression is always there, apart from some exceptions naturally, but it is almost always vital, because the source is very often purely vital. At times, as I said, it comes from high above, then it is really marvellous. At times, more rarely, it is psychic: something of it was there in the religious music, but it is not frequent. Indian music, on the other hand, almost always, that is to say, when we have good musicians, has a psychic source, the source, for example, of the Ragas. It does not come from the top heights, it has rather an inner and intimate origin. But it has very rarely a sufficient vital body. I have heard a good deal of Indian music, quite a good deal indeed. I came across very rarely any that has a great vital force, not more than four or five times. But I have heard quite often that with a psychic inspiration behind. It is music directly translated from the inner into the physical. To listen you must concentrate, as it is something very thin, very fine and tenuous, having nothing of the vital vibration with its strong intense resonances. You can glide into it, let yourself be carried along the flow, entering the psychic source. It has that effect, it acts something like an intoxication, something that takes you into a kind of trance. If you listen well and are attentive and let yourself go, you slowly glide and dip, dip into the psychic consciousness; but if you remain in the external consciousness, such a thin stream expresses. itself there that the vital gives no response and finds it extremely flat and monotonous. If, however, along with the

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psychic vibration there were also a vital force expressing it, the result would be interesting indeed.

I like this kind of music, with a theme, a single theme moving and developing gradually with variations: countless variations playing out the same constant theme, variations branching out and coming back again to the original basic theme. In Europe too there was something of the kind in its otherwise very different style. Bach had it, Mozart too. In modern times some musicians like Debussy, Raval and the Russian Borodine and a few others have caught something of it. You take a certain number of notes, in a certain relation and upon that scheme you play variations, almost an infinite number of variations. It is marvellous: it takes you deep inside and, if you are ready, gives you the consciousness of the psychic, some­thing that draws you back from the external physical con­sciousness and links you with something otherwhere within.

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