A word-portrait of Sunil Bhattacharya as a composer, teacher, sadhak based on correspondence with 'The Mother' on his music, and letters to friends and admirers.
The Mother : correspondence
THEME/S
The letters and other content included here have been sourced from Sunil - The Mother's musician.
Sunil arrived at the Ashram in 1942 and had not yet committed to remaining permanently. He was considering the Indian Civil Service. When the Government announced no more competitive examinations, he wrote to the Mother.
Sunil to the Mother:
There is one more bad news I received yesterday. Doctor Indrasen told me that the Government in Delhi has notified that there will be no more competitive examination; in the future jobs will be given by nomination. I will take classes by correspondence from a college in Bombay and I have already given Rs. 350/- for that. As you can see, Mother, this affects my program. What to do now? I send you my thousand pranams to Your Feet,
Your loving child, Sunil
The Mother replies:
Continue studying and we shall see later. I think it preferable for you to come every day to pranam as before and I shall see to it that you do not go away depressed.
With my blessings, Mother
*
In 1945, Sunil's elder brother returned from military service, removing Sunil's role as family chaperone. He placed the question of his future entirely in the Mother's hands.
To the Lotus Feet of my dearest sweet Mother,
The return of my brother has given rise to a serious question about my stay here. Indumukhi and the rest were awaiting his arrival to get it solved forthwith. Here he is at last; the choice is imposed: here or elsewhere? My brother, personally, does not want me to leave the ashram, but he is ready to help me if Mother decides that it is better for me to start the life outside.
Judging from the past and the present, taking all the dark and bright moments into account, I can tell you, Mother, that my life has never been so brimful and glorious. I grasp this opportunity to voice my will to stay and live near you.
But the future, and with it the last word, is yours. In spite of the pain I feel to part from all those which I have learned to regard as my own, I will welcome with reverence whatever you choose to decide.
I offer myself and all my pranams to your and Sri Aurobindo's holy Feet. Grant me your love and blessings.
Your loving child, Sunil [4-9-45]
My dear child, I never thought for a moment that you could leave the ashram, and I am glad to hear from you that this conviction of mine is in keeping with your own feeling.
Moreover you must not forget that your services are required in the school — you cannot leave your students in the middle of their studies.
So the question is settled and you need not think of it any more.
With my love and blessings, Mère
Sunil was among the first teachers at the Ashram school. A colleague conveyed what he claimed was the Mother's criticism of his teaching method. Sunil wrote immediately to clear the matter.
To the dearest feet of my Mother,
Today, just after the terrace darshan, Mrityunjoy called me to show me a French book of physics. He told me, in passing, that Sumitra asked him for an English book of chemistry… He told me that you were surprised to find that such an advanced book is being followed in my class, and that it would be better if I would stop giving lessons on chemistry unless I can give them according to the French system.
[The Mother underlined this passage and wrote in the margin:] "All this is absolutely false — I never told such a thing. Moreover he never told me that it was the book you are using in your class. I was under the impression that Sumitra had asked for the book without connection with your class."
[Sunil continues:]
No doubt I became upset when I heard this, but I did not tell him anything. At last I thought it best to clear myself to you. The first thing is that I am not following the book that was showed to you… You understand perfectly how much I know French, Mother, and at this stage if I venture to give them lessons in French, I fear the outcome will be nonsensical… I hope that I have made myself clear to you and hope to get your direct guidance as what to do now.
Your loving child — Sunil
I repeat that I never spoke of the "French way". I said that it would be better for Sumitra to get a simple French book to prepare herself for the future lessons in French. I did not make a single remark on your class — neither to approve nor to criticize. Your lessons were quite out of the question and I cannot imagine how Mrityunjoy could understand the things he told you… I ask you to continue your lessons just as you have been giving them, because I find them quite good and useful.
In November 1958 the Mother had a profound spiritual experience — descending into a dark crevasse, then being cast up into a formless, limitless vast. She composed New Year Music on this theme but was dissatisfied with her own playing and asked Sunil to orchestrate it.
The Mother to Sunil [after hearing the orchestration]:
I had a vision and I tried to play that in music — but did not succeed. When I heard this music, I had the same experience. This is perfect.
Mother
Sunil later wrote to a friend: "Orchestration of the Mother's New Year Music in 1959 was a great event in my life."
Around the same time the Mother asked Sunil to orchestrate a piece she had played on the organ called "Aspiration of the body for the Divine." Sunil submitted it for her approval with a list of instruments.
To the lotus feet of my Mother,
I finished yesterday the recording of the orchestral version of your music "Aspiration of the body for the Divine, Part IV." Now I want you to hear it any day, morning or afternoon, the sooner the better. I am not completely satisfied with the recording, but I am very eager to hear your criticism; if you approve of the main structure of the music, I can revise the whole music again and do a second recording. The original music lasts 22 minutes, the orchestral version 18 minutes.
Organ — Sunil, Manoj | Guitar and guitar-violin — Kanak | Harp — Manoj, Kittu | Tuning fork — Manoj, Sunil | Saxophone — Bairam | Violin — Amiya | Cello — Sunil | Piano — Jhumur
I offer myself and all my pranam to your lotus feet, Your child Sunil
To the lotus-feet of my dearest Mother,
Dyuman says he is willing to help me buy a cello and a xylophone. These instruments are, at present, available in Madras. Would you permit me to go to Madras and see whether these instruments will be useful for our orchestra?
Loving pranams, your child, Sunil
It is better not to spend more money just now.
My love and blessings, Mother
The Mother heard Sunil's music for the December 1st program — associated with The Hour of God — and wrote to him immediately.
The Mother to Sunil:
Sunil, my dear child, I just heard what you prepared for December 1st. It is very beautiful. You are a great musician and I would like to have the opportunity to hear your compositions more often.
With my love and blessings, Mother
The Mother called Sunil to her music room — along with Satprem and Sujata . She had decided she would no longer play for the New Year herself and would entrust the composition entirely to Sunil. This was the first year Sunil composed the New Year Music independently — a practice he continued until his passing in 1998. What follows is the conversation in the music room.
The Mother to Sunil [in the music room, 7 December 1964]:
Here is the thing: I like your music, and as for me, I no longer play! — I don't have the time. I never have an opportunity, I haven't played for the last twelve months; except when Sujata comes, then I run a finger over the keys. So it's quite impossible for me to play on January 1st, but I thought we could perhaps arrange something.... Today, I'll read you the message for the 1st. I'll read it to you and then we'll try to do something with it. Do you know this instrument (the organ?) Can you play it?... There are pedals, mon petit, enough to make your head swim! I can't play that! (laughter). So Sujata will play the pedals, and I'll play the keys! If something comes, you can use it and do me some music for the 1st. And then, instead of recording here, we'll record your affair for everybody!
[Sunil: "What you are going to play now I'll keep."]
No! I'm not playing — I'll just pretend to! With that you will do something. You understand? Maybe nothing at all will come! I can't say. This morning... This morning, I don't know, did you think of your visit here? Yes?… I heard magnificent music — magnificent! But it was music… it took at least four hands to play it, or several instruments.
The Mother describes her vision for the music [7 December 1964]:
What this morning's music expressed was a sort of ascent of aspiration, like a conquest, and then it suddenly climaxed in a dazzling flash of light — an explosion. An explosion of light. And the explosion of light CASCADED over the world… first the salute, "Salute to You, O Light." You understand, the Light is there, like this: it announces itself. And we salute it. Then the whole aspiration rises in conquest of this Light through successive ascents… And then, when we have come before the Light, it makes a sort of explosion, like a bomb exploding, an explosion of light. And afterwards, it falls back onto the world — with sparkles. And then, I would like at the end the great calm of the Truth. That will need something very vast and very calm — very vast. Very simple. A few very simple great notes. Voilà.
Sunil, this is genius! It is magnificent, with a true and deep emotion. It has made me very happy.
With my blessings. Mother
In June 1965, the Mother asked Sunil to compose music for Anu's dance drama on the four aspects of the Mahashakti. She also sent a small card with her symbol with an extraordinary message.
The Mother to Sunil [13 June 1965]:
Sunil, my dear child, I would be very happy if you composed the music for the 1st of December, Anu's dance-drama. Because, you alone can do it the way it should be done.
The Mother — on a small card sent separately:
Your music is, according to me, the music of the future and it opens the way to the new world. Blessings.
Sunil to the Mother — on his progress:
These pieces of music which you asked me to do for the 1st of December are supposed to represent Mahashakti, Mahasaraswati, Mahalakshmi, Mahakali, and Savitri (your reading)… Naturally whom could I express in my music but you in your different moods and moments that I have had the good fortune to witness during my 22 years of stay over here. Sometimes I strayed into infinity which left me on clouds, sometimes dark and lonely sweeping down in flashes of lightning into the clods of darkness below… But now that the music is ready, I wonder whether anything like that has been expressed in it. As for me when I hear it I find in it nothing but an echo of my deep love and admiration for you.
Another letter — on using the Mother's sung tune for Mahalakshmi:
Sweet Mother, Two repetitions of your tune could be given when Mahalakshmi appears on the stage on 1st December only if you permit. Otherwise I will have to get the tune sung by somebody else. But personally I am very eager to use this music so that others may have a genuine touch of Mahalakshmi when they hear it.
P.S. I have heard a lot about Indian Shrutis; this is the first time I hear it being used to procure strange effects. Unfortunately the day you sang this, there were many crows on the Service tree. But that cannot be helped.
The Mother replies — after hearing the Shakti music:
I heard the music — It is wonderful! music itself, pure and high and strong — It is delightful, and leaves you waiting and wanting to hear more…
For the whole thing, I leave you quite free to do as you think best.
With love and blessings, Mother
The Mother writes again, having heard the music twice:
My child, Yesterday, at a quarter past twelve and (again) today, at the same time, I have heard your music with deep emotion and I can tell you that I have never heard anything more beautiful, in music, of aspiration and spiritual invocation.
Sunil — not having received the above, writes urgently:
Sweet Mother, About ten days ago I sent You my music for December 1st and a letter via Pranab. It seems You have not yet listened to the music and I wonder if You ever read my letter. This time, I strongly wanted You to listen to the music as, when I was composing it, I had the experience of a strong and ardent love for You. It is precisely for that reason that I wanted to know if I managed to tell You what I felt inside me….
I offer my Pronams at your lotus feet, Sunil
If you sent the music for December 1st only once, I heard it with a deep emotion as something exceptionally beautiful and I wrote you at once out of this emotion. Didn't you receive my answer?... If this answer got lost, I want to tell you again here that this music opens the doors of the future and reproduces in an admirable way the musical vibrations coming from the higher worlds.
In my note, I was telling you that I was waiting with impatience to hear from you what you are preparing for January 1st.
The Mother — after hearing the final recording of the Shakti piece [8 December 1965]:
Sunil, my dear child, I have just heard what you have recorded. It is beautiful, very beautiful. It is the first time that I have heard music expressing true power, the power of Mahakali, the power of the Mahashakti. It is formidable and, at the same time, so deeply sweet… And specially, while listening to it, I had the impression of a door opening onto a still more beautiful future realization!…
With all my love and blessings, Mother
Sunil faced persistent difficulties with his recording technician Niranjan and with the quality of recordings. Several short exchanges with the Mother reveal her steady encouragement.
Sunil to the Mother — on Niranjan's attitude:
Finally, I would like to speak a few words about Niranjan. He is an excellent worker but unfortunately he and Huta are not exactly friends. During the recording this time I felt that he was not working in a very willing manner — I would be grateful to you if you give him a little encouragement and make him understand that in doing this work he is obliging neither me nor Huta but he is serving you.
Niranjan can set his mind at rest. He works only for the Divine, if such is his inner attitude.
Sunil to the Mother — on replacing Niranjan with Victor:
You know that Niranjan is not well. He told me that because of his health, he would not be able to come to record the Savitri music… I would prefer to have Victor as I know him well and he comes now every day to me. If You decide it should be Victor, this proposal has to come from You. I am waiting for Your decision.
With my thousand pranams at Your lotus Feet,
It's good, I am sure Victor will do the work well, if he comes to record your music. The choice is good and I approve of it.
Blessings, Mother
Sunil to the Mother — on revenue from tape sales to cover costs:
These problems are a burden on me these days — now that I have put them before You, I feel completely relieved. Perhaps there are other solutions which escape me and that You will find. The more I live and the more I see, the more I realize that it was not by chance that I am here to bother You with my problems. I have a lot of things to tell You, even things I would not be able to formulate in words. I will tell You, tomorrow, in my music.
Don't worry, everything will fall into place. These details are easily solved.
Mère
It's curious, Mother, that each time that you told me that You love my music I had tears in my eyes. Each time that I tell You that I love You Mother, I have tears in my eyes. One would say they are tears of joy or gratitude. I don't believe it. I could not understand it for a long time. But now I see why, I feel even though very vaguely that there is a whole world that I was not conscious of before, a very beautiful world, formed by memories of You and me. And each time that You look in my eyes, each time that You smile at me I find again this world, a bit of my Mother that I had lost and that I had searched for through the ages…
Tell me, petite Mère, was I very near You before my birth, or in a past life? Would You answer to this question?
It is possible that, in a previous life, you have been my physical child. But this is not what gives you this deep emotion. It is your soul which inspires your music. It is with your soul that I connect you when I speak of your music and that connects you with your soul and also with me who is always in the center of your being.
It is the intensity of that consciousness which makes you cry of emotion, these are psychic tears which melt the obstacles and the difficulties in the being.
For the 1966 New Year Music, the Mother played a theme on her organ and Sunil incorporated it into his own composition. On hearing the completed piece she wrote.
Sunil, my dear child, It was with impatience that I was waiting to listen to your music and I am so happy to have heard it today. Your interpretation of the melody played in front of you is really as it should be; this is exactly what I wanted to say.
Mother 30.12.65
I heard it. Nothing to change. It is wonderful. I am delighted!
Blessings. Mother
In February 1966, the Mother wrote to Sunil asking him to compose music to accompany her readings of Savitri, illustrated by Huta's paintings. It became one of the great works of Sunil's life — eventually spanning 33 hours.
The Mother to Sunil [10 February 1966]:
Sunil, my dear child, We need a music to accompany and frame my readings of passages from Savitri illustrated in "Meditations on Savitri." You alone can do this music the way it should be done. Would you be interested in this work? It would make me very happy. If you agree to do this big work which will certainly take two years to complete, Huta would like to show you right now all her finished paintings. And as the recording proceeds, my reading would be given to you, book by book, so that you can use it as a basis for your composition. If need be, you could use some of my recorded musics that you could orchestrate, as you did before for others. Tell me whether you like this idea — and I could call you one morning that we may talk about it. I will need your answer before February 14th.
Sunil's response:
As for my decision, all you propose to me I agree with. The idea is excellent, but what frightens me is I am not sure of my ability. But I have total trust in You and I know if you give me a work you also give me the grace which alone can succeed.
The Mother replies [11 February 1966]:
Sunil, my dear child, Those who are really capable are always modest. Come February 15th at 11 a.m. Huta will be here and you will meet each other.
As Sunil worked intensively on the Savitri music, a conflict arose between Victor (his recording assistant) and another helper. Victor wrote to the Mother saying he no longer wished to work with Sunil. The Mother relayed this to Sunil after he explained the cause.
Sunil to the Mother — on the conflict with Victor [8 February 1968]:
I don't know if Victor will come with us tomorrow. He is angry. He has a very inflated head now. He cannot stand the presence of Suresh. I have scolded him for that. Later on he wanted to experiment — the result was not good at all. I have asked him to work as usual. He didn't like that. He was angry and he is still now angry. He is not coming to my house, and it is possible that he will not come tomorrow with us. But Suresh will arrange everything. I do not worry about that.
I send You my thousand pranams at your lotus Feet, Your loving child,
Sunil
As a matter of fact, Victor wrote me that he no longer wished to work with you. I did not understand why and I did not answer. Now it is clear. So, it is clear and it does not matter. Come with Suresh.
The Indian Academy of Music in New Delhi asked Sunil to record a spoken introduction to his music. He prepared a three-minute recording and sent it to the Mother for approval.
Sweet Mother, These gentlemen at the Akadémie want me to say a few words to introduce my music at the beginning of the recording. The subject of my speech is such that I cannot send it without Your approval. That is why I send You the tape via Pranab. You must, Sweet Mother, listen to it today — it will take only 3 minutes. The tape will be sent only if You approve.
I offer all my "pranams" at Your Lotus Feet,
I heard and I approve. I listened to the whole tape and that gave me a very good moment. There were flights in the world of pure harmony and it was deeply moving.
The following introduction prepared by Sunil was added to the tape:
Some twenty years ago I heard for the first time the Mother of our Ashram improvising on an organ. In the beginning the music sounded strange to me. It was neither Indian nor Western, or shall I say that it sounded both Indian as well as Western to my ears? The theme she was playing came very near to what we know as “Bhairon”, the whole closely knit musical structure expanding melodiously. Then suddenly it started: notes came surging up in battalions, piled one on top of another, deep, insistent, coming as if from a long way down and welling up inevitably: the magnificent body of sound formed and gathered volume till it burst into an illumination that made the music an experience. Thus She revealed to me the secret of a magic world of music where harmonies meet and blend to make melodies richer, wider, deeper and infinitely more powerful... I have tried to take my music from Her. My music is my labour and my aspiration for the Divine and what I try to convey through it are the voices of my inner experience. My grateful thoughts are with Her, who has been my Guide, Guru, Mentor and Mother. One day it was Her Light that sparked my heart, it is Her Light that has sustained its glow, it is Her Light that I seek through my music. If this music brings some comfort, some delight or some message to someone, I have achieved that for which She has placed Her trust in me.
Throughout 1966, the Mother actively facilitated Sunil's work by offering instruments.
The Mother to Sunil [2 September 1966]:
Sunil, my dear child, The two violins Anusuya was using are with me. Would they be useful to you? In which case, I would be very happy to give them to you as I know you would take care of them. If you want them, just come and pick them up.
With my blessings, Mère
The Mother to Sunil [1 October 1966 — on a guitar received]:
Sunil, my dear child, I just received a guitar. It is not the one you ordered but it's a guitar and I hope it will be useful to you. I do not send it to you for safety reasons; could you come and pick it up? Champaklal will give it to you with the user's guide. I am expecting to see you in November for your birthday.
The Mother — on lending the violins to a student:
Let him learn to play very well, then you can give him one of Anusuya's.
The Mother — on lending instruments generally:
For the safety of the music instruments, not to lend them at all would be safer. But, to be more easy-going, you could ask the candidate to play in front of you the required instrument and if he shows some qualities or at least some promise, you can lend it for a fixed time.
Huta decided to use the Mother's music rather than Sunil's for her paintings. Sunil wrote anxiously asking whether he should still continue.
Petite Mère,
Huta has told me that she does not use any more my music on Savitri with her slides. Once, you wrote to tell me that my music on Savitri is something between you and me. Does it mean that you still encourage me to continue this music, slides or no slides? Would it not produce confusion if there are two sets of music on Savitri? Your decision is vitally important for me.
Awaiting your reply and sending you my loving pranams,
Huta wanted to publish something and I gave her permission.
But your music is essential for Savitri and, of course, it must be used. Come tomorrow at 3 p.m. and we both shall sort things out together.
Love and blessings, Mother
Sunil,
Victor likes music very much and wants to become a musician. Would you help him and show him the way?
Sunil to the Mother — on what guidance he gave Victor [December 1966]:
I answered that if I have become a musician, it is because I loved You and I listened to the music of the Mother; as a preparation, he can take all Your recorded organ music and try to copy the passages he loves. Later on, he could try to orchestrate these musics. What do You think of that suggestion?
The Mother replies [12 December 1966]:
That's good. He can try this method.
Sunil frequently wrote to arrange dates to play his newly completed Savitri music for the Mother.
Sunil to the Mother [17 May 1967]:
Sweet Mother, Last time I saw You, You told me that You would like to listen to the 3rd Canto of the Savitri music either on May 3rd or May 5th. We are now busy recording this music. Have You decided on the date?
I send You my pranams, at Your lotus Feet,
I have just seen my book for the month of May. Everything is taken. My first free day is Thursday 18th — and I wrote your name at once so that nobody else comes to take it. Like that, you have a lot of time to get ready. I will see you on Thursday, May 18th, at 10:00 a.m.
Blessings, Mère
Sweet Mother,
My birthday falls on Sunday, the 3rd of November. I do not know if you see people, now, on their birthdays — if you do, I will be delighted if you permit me to come and see you on that day. For months I feel within me a presence, I do not have to concentrate. I just look within and it is there. I have not been able to decide till now if it is really you or is it my love for you? Anyway, this is a precious possession and I am happy to carry it always within me. My prayer on my birthday is that you make it last forever and forever.
I offer my love and my pranams at your lotus Feet,
Come on the 3rd at 10:00 in the morning.
Sunil was working on Canto 5 with the Mother's recitations in both English and French. He wrote to confirm the arrangement for the Mother to hear a selection.
Sunil to the Mother [19 April 1969]:
So, tomorrow, at 2:45 p.m., You will hear the selection You just made of Savitri with the recitations in French. Victor and I shall be there at around 2:30 p.m. and You just send a note when You are ready.
I send You my thousand pranams to Your Lotus Feet, at Your Feet,
Very good.
The music for the 5th Canto of Savitri is ready. We have prepared the two copies simultaneously, one with Your recitation in English, the other with Your recitation in French. This canto has 20 recitations — that is why the music has become a little too long — nearly 1 hour 8 minutes. As it is the same music which is behind these words in English and in French, perhaps You won't like to listen to the same music twice. If one of them should be chosen, I would prefer the music with the French words, it's the best one. Anyway, You only need to fix a date now and we shall come with our machines to play before You.
Sunil, Saturday 4 October at 9:45 — 1 hour 1/4
Sunil confirms [2 October 1969]:
Then, we shall come the day after tomorrow, Saturday, October 4th, at about a quarter to ten, for You to listen to the 5th Canto of the Savitri music. I shall be with Victor who records the music and Suresh Hindocha who looks after the maintenance of the instruments. I decided to play the music with the recitation in French unless You prefer the other one.
I send You my thousand pronams at Your lotus Feet,
It is Good.
For the first time, the Mother did not play the organ for Sunil on his birthday to give him inspiration for the New Year Music. Sunil wrote with a touch of gentle entreaty.
Sunil to the Mother [28 October 1969]:
Monday, November 3rd, it's my birthday. I would like to come and see You on that day. Did You decide anything for the New Year Music? Is it true that You do not intend at all to play something on Your organ — even a very little piece for me? Some little thing I could breathe and imitate in the coming year?
I send You my thousand pranams at Your Lotus Feet,
It has been nearly a year that I have not played and really I don't know whether I shall be able to do it. You can come on your birthday at 9:45 and we shall see.
Sunil wrote to the Mother about purchasing a small harp (suramandal/santoor) and also requested permission for his friend Gambelon, who was visiting, to consult the Ashram doctor.
Sunil to the Mother [28 November 1969]:
Sweet Mother, The small harp, Suramandal, of which a better quality is sold in New Delhi, would cost Rs. 330/- taxes etc. included. It would take them about twenty days to manufacture such an instrument. Do You wish me to send a final order?
[The Mother wrote in the margin:] "Good"
My friend, Mr. Gambelon, is suffering from varicose veins and he would like to consult Dr. Sanyal. But I suppose that Dr. Sanyal does not see people without Your authorization. Can I take him to see Dr. Sanyal?
Yes.
Sunil to the Mother [25 December 1969]:
I will come, then, tomorrow with Victor and Suresh for You to hear January 1st music. This time, I gave a very small chant from the Rig-Veda, of which I send You Sri Aurobindo's translation. The melody for this chant is taken from a musical phrase You played on October 30th, 1965. It seems You won't have to pay for the santoor (small harp) I ordered in New Delhi. The father of Karunamayur, a Mr. Krishnachandra, is willing to pay for this instrument. He, too, is a musician and he is very happy to be able to offer You a musical instrument. If You would give him a card with Your blessings, I could send it to him.
Here is a card for him.
Sunil received a letter from the Duncans in the USA asking for the right to copy and distribute his Savitri tapes. He laid the questions before the Mother in French.
Sunil to the Mother [in French, c. 1970]:
I send You a letter I just received from the Duncans, "Crescent Moon", USA. You will read this letter and take decisions on the following points:
Can we entrust them the right to copy Savitri from their tape in order to give it to the people who will ask for it?
[The Mother replies in the margin:] "Yes"
Should it be appropriate that they stick a label on these tapes with the mention: "All rights reserved"?
[The Mother:] "Yes"
Can we ask those who would like a copy to send me a tape by mail? At least, those who are well-off?
This, because there is always a problem with the tapes. I am waiting for Your decisions.
I send You my pranams to Your Lotus Feet,
At Your Feet, Your loving child, Sunil
The Mother:
The Mother sent Yatanti, a musician, to Sunil with a suggestion that she might join his orchestra — and later asked if Yatanti might play on the Mother's own organ, which was in Sunil's care.
The Mother to Sunil [first note, undated]:
Sunil, I send you Yatanti, she is a musician and really loves music. It seems to me she could be a good asset for your orchestra. Would you like to try?
The Mother to Sunil [21 January 1970]:
Sunil, my dear child, Yatanti would like to play on my organ which is with you now and this seems all right to me. Would it be possible for her to come and play when that does not disturb anybody? She will bring you this letter, and I hope it will be all right with you.
Blessings
Sunil replies [22 January 1970]:
Sweet Mother, So, it is agreed that Yatanti will come every day at my place between 5 and 6:30 p.m. to play on Your organ. It won't disturb anybody.
The Mother's reply:
My love and my blessings
Sunil to the Mother [8 March 1970]:
Sweet Mother, From what Jayantilal told me, there is a man in Madras who has invented four different music instruments and he is ready to offer them to an institution such as ours (one of them has piano keys and the sound of a veena). Shall we accept them? As this person insists that I come to Madras so that he can explain me how to use them, do You want me to go with Jayantilal next time he goes to Madras? I don't consider this trip proposal with pleasure.
I send You my thousand pranams at Your Feet of Lotus,
The Mother replies [on the back of the letter]:
You don't need to go to Madras if you don't want to. I shall see you tomorrow morning as agreed.
With my blessings
Sunil had completed the first two cantos of Book II and asked whether the Mother would translate and record the passages in French as she had done for Book I.
Sunil to the Mother [17 July 1970]:
I have just finished the composition for the first two cantos of Savitri Book II. Soon we shall start the recording of the music. I wonder if You would like to go on with the translation in French of these passages. There are only 16 passages in all and You can do it slowly and quietly without worrying about the time. The music with the French recitations was always a success and I would really like to have Your recitations in French. If You agree, I will give the texts in English to Françoise.
I send You my thousand pranams at Your Lotus Feet, Your loving child, Sunil
I agree. I will do it with pleasure.
Sunil to the Mother [29 September 1970]:
The music for the first two cantos of Savitri Book II is ready with Your recitations in English. It is not urgent, but it goes without saying that it would be a great joy for me if You could hear it one of these days. You are absolutely free to choose any day, say by the end of October or even in November if You prefer. The music lasts one hour.
The Mother replies [not in the Mother's own handwriting]:
Mother has said: October 9th at 10:00
Thursday, November 3rd is my birthday. I would like to come and see You on that very day, if possible. I want, also, to know Your decision for the New Year Music.
9 AM
A short note from the Mother in November:
Friday, November 27th — Sunil, Today itself at 3:30, I shall be happy to hear the new version and… It is Jhumur's fête.
My blessings
Sunil was asked to provide music for the Auroville meditation at the Matrimandir inauguration. He was uncertain which music the Mother had in mind and wrote to her.
Gene came to see me. He told me that You want the music we play during the Aurovilian meditation. He wants to know if it is the music of Book III of Savitri (the Aswapathy book) that You heard the other day? Can You tell me exactly what You want?
The Mother replies [at the bottom of Sunil's note]:
I said — as clearly as possible — the January 1st music with my message.
Here is Rs 100/- from Gambelon, his offering to You. Next Friday, November 3rd, is my fête. I would really like to come and see You on that very day. I have just finished this morning the music for Savitri Book II, Canto V. The music lasts about one hour. I would be very happy if You could listen to it one of these days. We can play it over two days or we can play a selection lasting 35 to 40 minutes. I am waiting for Your decision.
I send You my pranams to Your Feet,
The Mother replies [written with her felt pen]:
3.11.72 10 a.m.
The Mother sent Sunil a carpet for his recording room. He wrote to her in gratitude.
Mother,
Feeling as I do the plenitude of your presence all the time all around me, this beautiful carpet has brought close to me your sweetness and love. I remain, as always, your ever grateful child.
Love and blessings
Sunil to Gambelon [describing what the Mother said]:
When the Mother heard this music she said to Sunil: "It's magnificent music. Magnificent." After a little while, She said: "I thank you" — after a while, She again said: "I thank you" — again She said: "I thank you". This, "I thank you," She repeated nine times.
The following are the Mother's remarks on Sunil's music as recorded by Satprem in the Mother's Agenda — private conversations from the 1960s.
28 November 1964: On "The Hour of God"
The Mother had just heard Sunil's music prepared for the Hour of God. She also announced her decision to no longer play herself for the New Year and to entrust this to Sunil.
It begins with something he calls "aspiration" — oh, it's beautiful!... I have rarely heard something with so pure and so beautiful an inspiration. All of a sudden, a "sound" comes, which is exactly the sound you hear up above. And it isn't too mixed (the fault I find with all classical music is all the accompaniment which is there to give more "substance", but which spoils the purity of the inspiration: to me it's padding), well, with Sunil, the padding isn't there. He doesn't claim to be making music, of course, and the padding isn't there, so it's truly beautiful.
I have decided not to play this year for January 1st. Even last year, I very much hesitated to play because I was absolutely conscious of the inadequacy — the poorness and inadequacy — of the physical instrument; but there was a sort of reasonable wisdom which knew how a refusal to play would be interpreted (by the disciples), so I played — without satisfaction, and it wasn't worth much. But the music I heard yesterday was so much THAT, so much what I would like to play, that I said to myself, "Well, now it would be unreasonable to want to keep in a personal manifestation something that has a much better means of expression [Sunil]."
6 January 1965: On the 1965 New Year Music
When I heard his music for the first time, something suddenly opened up and I was right in the middle of the place I know, from which true Harmony comes — suddenly.
24 March 1965: On a New Mode of Perception
There is a rather curious development. For some time now, but more and more precisely, when I hear something, when someone reads something to me or I listen to some music or am told of some event, immediately something vibrates: the origin of the activity or the level on which it's taking place or the origin of the inspiration is automatically translated as a vibration in one of the centers. And then, depending on the quality of the vibration, it's something constructive or negative; and when at some point it makes contact, however slightly, with a domain of Truth, there is... (How can I explain?) like a spark of a vibration of Ananda. And the thought is absolutely silent, still, nothing — nothing (Mother opens her hands upward in a gesture of complete offering). But this perception is growing increasingly precise. And that's how I know: I know the source of the inspiration, where the action is located and the quality of the thing. What precision! Oh, an infinitesimal precision, in the details. For instance, the first time I felt this in a clear way was when I heard Sunil's music on The Hour of God; that was the first time, and at the time I didn't know it was something completely organized, a sort of organization of experience.
25 June 1966: On Universal Harmony
Oh, not just once, but very often, while listening to his music [Sunil's], a door is immediately opened onto the region of universal harmony, where you hear the origin of sounds, and with an extraordinary emotion and intensity, something that pulls you out of yourself (gesture of abrupt wrenching). It's the first time I've had this while listening to music — I myself have it when I am all alone. But I never had it while listening to music. It's always something much closer to the earth. Here, it's something very high, but very universal, and with tremendous power: a creative power. Well, his music opens the door.
Now, some people have heard his music, and in Russia, France and the U.S.A. as well, they have asked for permission to copy it and spread it around. And the strange thing is that those people don't know one another, but they have all had the same impression: tomorrow's music. So to those who have asked I've answered, "Have some patience, in two years we'll give you a musical monument."
circa 1966: On the Savitri Music and the Splendour of Future Creation
In talks with Satprem during the period when Sunil was working on Book I, Canto 2 of Savitri:
In Sunil's music, there are two or three of those associations of sounds that are evocative associations, and in his music it's the splendour of the future creation, oh, it comes like a dazzling sun.
28 December 1968: On the 1968 New Year Music
This was the first New Year Music composed without the Mother playing a theme for Sunil.
… It creates an atmosphere. Usually I play some music for him, and he composes from it, but this time I didn't play, so he took some old pieces of mine; with that he makes contact and composes. An American musician has come here, and I sent him to Sunil (he is a pianist). He said he'd heard some of Sunil's music there, in America, and at first people are a bit bewildered, but that when they have heard it several times, they become quite enthusiastic. As for me, I find it creates an atmosphere: it BRINGS DOWN an atmosphere. And the human voice is quite lovely, well mingled.
Note: Spoken Remark on the 1967 New Year Music (not in the Agenda)
This remark was not recorded in the Agenda but was conveyed by Sunil himself to Gambelon in a letter. He described what the Mother said on hearing the 1967 New Year Music:
This is the first time I heard a music which came from above, without passing through mind.
Note: Manoj on the Mother's Assessment of Sunil's Access to the Source
Manoj relayed what the Mother had said about the nature of Sunil's musical inspiration:
Mother says that Sunil is open to the world of true music. From the very source from where Mother used to get the inspiration, get the music — Sunil had the access.
About The Mother, his Music & his sadhana
To Clifford Gibson:
For us, here, the birthday was always a very special day, the day when She used to come close to us as a physical mother comes to her child. On this day you were very special to Her, you were not in a crowd trying to get Her touch or Her Darshan, She gave Herself exclusively to you and you were happy to find how much your welfare meant to Her. So, this year there will be an emptiness around me on my birthday at least physically. But Her Presence is there always within me and there She is exclusively mine.
To Gambelon, the same day:
What was least expected happened. The Mother left her body on the 17th evening at 7:25 pm. The blessing packet I send for you was given to me earlier in the day. I am too perplexed now to think clearly. I will write to you again later on.
To Gambelon:
So it is all over now. The Mother's body has been laid to rest in another chamber inside Sri Aurobindo's Samadhi. Sri Aurobindo lies in the lower vault, the Mother in the upper…
When I went to the Ashram at about 4:15, She was already brought down on Her bed and kept in the meditation hall near Amrita's room. The volunteers were already standing everywhere directing the crowd that slowly grew. They had been informed earlier, these volunteers. All this orderliness in the face of such a calamity came as a rude shock to me, I never expected to have Her last look in this way…
On the 17th evening, Pranab came down at 6.30. The Mother suddenly became restless and asked Coumoude to lift Her up. Coumoude raised Her head a little, kept it in that position for a little while and then put it back on the pillow. And then the Mother started to cough — Coumoude told the Mother that she would prepare a little glucose water. Then Coumoude heard a noise from Her throat, she looked at Her, and then ran and asked someone to call Pranab and the doctor. When Dr. Sanyal came he did not find any pulse. He tried to stimulate respiration artificially. No success.
This event is momentous in my life as well as in others' — may She continue to hold us in Her hands and choose for us our paths.
To Jatin Mahimtura in Bombay:
I see that you are still feeling the enormity of Her physical loss. I, too, I am more or less in the same boat, a feeling of emptiness clings to me, but this is understandable. So many years and such physical nearness is difficult to forget!
But, even in the darkest hours, I never had a crisis in confidence in Her. I knew it always and I believe it even now that She has done what was best for us and for Her mission. She is here to execute His Will, the will of the Supreme — and She has accomplished whatever was sanctioned from above. She will be here in this atmosphere fashioning in Her own way that which has to emerge.
As for us, the only help that we can render to Her work is to keep on having a complete trust in Her. Distrusts or doubt in any form will be a hindrance to Her. Find in your love the sign of Her eternal Presence.
To Solange de Marbaix in Brazil:
The initial movements of emptiness have passed and slowly we have woken up to Her secret presence within us, to Her with Her undying Powers, to Her who never can really cease.
To Jyotibose in West Bengal:
She was weary of Her body and She left it. But She is not the one who can be shut in the heavens. She is very much here. Her breath still loves to play on our beings and give a meaning to our frail hopes, She, still, loves to be here with us and live our lives, one with us. The initial gloom of emptiness that came within us has fallen and dissolved in the radiance of Her Love. May this Fire that She kindled in us continue to remain imperishable!
The major part of this music was written on the three days immediately after the passing away of the Mother, and composing this gave me much more than a creative pleasure. I am happy to know that much of what I felt, you could also feel as your own. In spite of sands shifting, doors of possibilities are opening, and slowly but surely you are drawing near to your god.
To Jocelyne in Montreal:
To know that there is a growing interest in my music is heartening — this knowledge makes me feel a little less lonely in the path She has chosen for me. There is a meaning to whatever She has done through us, and I am certain that her hands will know how to use them according to Her secret intentions.
A day may come when I will have Her consent, and we will do just as you suggest, but that day has not as yet come. At the moment there is something within me which recoils from the idea of enlarged audiences and I will prefer giving copies of these musics only to our friends, only to persons who accept our ideals, our way of life.
My greatest joy in this life has been my success in discovering Her, who is my true Mother, as well as my attempts to express in my music my deepest feelings for Her.
Looking at these days now which have followed my undertaking of this music of Savitri, I have a growing feeling that I and my music are no longer strangers, and I discover that, after all, I and my music have much in common. Is it not wonderful to know oneself in one's own music?
To Wanda in Brazil:
I write my musics as I pray. It is a matter of an inner satisfaction to me to know that what I do can bring help to someone somewhere.
To Rolf Gelewski — responding to Rolf's suggestion that the Mother in his music is still too personal and particular, that she has become something vaster and more impersonal in her post-mortem action:
You are again right when you point out that this Mother in my musics is a very personal mother, the Mother that was, the One whose presence within me was all that ever mattered to me in my life. There are certain experiences which can last a lifetime, and it is a vain exercise of mind if we try to switch over to others when the time is not just ripe. It has been given to me to seek Her Love and Her Compassion. My orbit lies there, and I am happy to live within the limits She chose to confer on me.
It will be no good for me if I try to feel Her in the infinite details of our infinite universe. That is not simply my path. I need a little ego for my work. Could a doll of salt take a plunge in the sea and seek to explore it with impunity? I wonder; at least, I am sure, there wouldn't be any more the Sunil that you have known, neither would you hear him any longer singing his songs.
When I was a kid, I was on the verge of an experience and I drew myself back because I became mortally afraid of losing myself completely.
To Dominique and Klara in France — his most sustained reflection on the period after the Mother's departure:
When the Mother left her body, and I did my New Year Music 1974, many here raised their eyebrows. I saw that they were critical about the vacancy I felt within me, of the uncertainty of living upon the margins, of the feeling of my smallness in face of the disaster, of an unquiet search in me for Her, for Truth, and Self and Light…. All that I wanted to say in that music was that I loved Her, that She would be no more with me in the same way as She used to be, but somehow She was shining through a searching, the same face, the same light and whether or no I would still love Her and I would find Her. They said to me that the music was too personal! They said that the emphasis in this music on the significance of this physical event was painful and did not bring any help. They said that She was very much present here within us and around us and the work goes on. This complacency overtook us with its inescapable fatality.
A loss has to be felt before it can be made good. Minimizing the magnitude of our loss only misleads. The way I see it, this sorrow has a role to play in our heart and we should cherish it until we have learnt the secrets of Her designs.
As for me, my life goes on in a cycle which remains if not independent of the life in the Ashram, but sort of oblivious of it. I do certainly have news of what happens here, but as I can do nothing about it I concentrate more upon my progress.
Such ties become the motive force behind all spiritual growth. In that consciousness each step becomes an act of love, each joy becomes a magic of love and each suffering becomes the birth of a greater love.
To Carlo:
The Ashram as I saw it when I came here was not made by man; it held a power beyond the strength of the humans, it had a light that never wore away. People with all sorts of hides lived here merrily together.
To Rolf:
People, here, are adjusting themselves slowly and falteringly to the newness of our present Ashram life accepting with resignation the absence of a physical Presence which dominated our lives for more than half a century. Surprising though, and almost simultaneously values are undergoing changes at a pace which is almost a steady slow crawl. However, the fragrance of Her nearness is overwhelmingly strong. I have to be told not to believe that she is on her chair in that lovely room upstairs.
Do you remember the day you first saw the Mother? You were on your knees and she smiling at you and the twisted glasses of the eastern window threw light on both of you and made the silhouette of a Mother and her child. I find it significant that this memory remains still vivid in me even though both of us have left a number of years and a number of experiences behind us.
I don't have a child, and even if I had one, I am not sure if he would be a musician. You may think that I am not in my senses if I tell you that I have still to learn why I have been chosen to do such a work as music by the Mother.
To Dominique and Klara:
My days of labour are over. The yearly instalment of Savitri and then the New Year Music are ready and I have now a few months of leisure. My health is excellent, and I feel more and more deeply how much I owe to Them. The only fulfilment that I desire is to belong to Them — totally.
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