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At the Feet of The Mother

15.3 Music

From what plane does music generally come?

There are different levels. There is a whole category of music that comes from the higher vital, which is very catching, somewhat (to put it roughly) vulgar, it is something that twists your nerves. This music is not necessarily unpleasant, but generally it seizes you there in the nervous centres. So there is one type of music which has a vital origin. There is music which has a psychic origin — it is altogether different. And then there is music which has a spiritual origin: it is very bright and it carries you away, captures you entirely. But if you want to execute this music correctly you must be able to make it come through the vital passage. Your music coming from above may become externally quite flat if you do not possess that intensity of vital vibration which gives it its splendour and strength. I knew people who had truly a very high inspiration and it became quite flat, because the vital did not stir. I must admit that by their spiritual practices they had put to sleep their vital completely — it was literally asleep, it did not act at all — and the music came straight into the physical, and if one were connected with the origin of that music, one could see that it was something wonderful, but externally it had no force, it was a little melody, very poor, very thin; there was none of the strength of harmony. When you can bring the vital into play, then all the strength of vibration is there. If you draw into it this higher origin, it becomes the music of a genius.

For music it is very special; it is difficult, it needs an intermediary. And it is like that for all other things, for literature also, for poetry, for painting, for everything one does. The true value of one’s creation depends on the origin of one’s inspiration, on the level, the height where one finds it. But the value of the execution depends on the vital strength which expresses it. To complete the genius both must be there. This is very rare. Generally it is the one or the other, more often the vital. And then there are those other kinds of music we have — the music of the café-concert, of the cinema — it has an extraordinary skill, and at the same time an exceptional platitude, an extraordinary vulgarity. But as it has an extraordinary skill, it seizes you in the solar plexus and it is this music that you remember; it grasps you at once and holds you and it is very difficult to free yourself from it, for it is well-made music, music very well made. It is made vitally with vital vibrations, but what is behind is frightful.

But imagine this same vital power of expression, with the inspiration coming from far above — the highest inspiration possible, when all the heavens open before us — then that becomes wonderful. There are certain passages of César Franck, certain passages of Beethoven, certain passages of Bach, there are pieces by others also which have this inspiration and power. But it is only a moment, it comes as a moment, it does not last. You cannot take the entire work of an artist as being on that level. Inspiration comes like a flash; sometimes it lasts sufficiently long, when the work is sustained; and when that is there, the same effect is produced, that is, if you are attentive and concentrated, suddenly that lifts you up, lifts up all your energies, it is as though someone opened out your head and you were flung into the air to tremendous heights and magnificent lights. It produces in a few seconds results that are obtained with so much difficulty through so many years of yoga. Only, in general, one may fall down afterwards, because the consciousness is not there as the basis; one has the experience and afterwards does not even know what has happened. But if you are prepared, if you have indeed prepared your consciousness by yoga and then the thing happens, it is almost definitive.

What is the cause of the great difference between European and Indian music? Is it the origin or the expression?

It is both but in an inverse sense.

This very high inspiration comes only rarely in European music; rare also is a psychic origin, very rare. Either it comes from high above or it is vital. The expression is almost always, except in a few rare cases, a vital expression — interesting, powerful. Most often, the origin is purely vital. Sometimes it comes from the very heights, then it is wonderful. Sometimes it is psychic, particularly in what has been religious music, but this is not very frequent.

Indian music, when there are good musicians, has almost always a psychic origin; for example, the ragas have a psychic origin, they come from the psychic. The inspiration does not often come from above. But Indian music is very rarely embodied in a strong vital. It has rather an inner and intimate origin. I have heard a great deal of Indian music, a great deal; I have rarely heard Indian music having vital strength, very rarely; perhaps not more than four or five times. But very often I have heard Indian music having a psychic origin, it translates itself almost directly into the physical. And truly one must then concentrate, and as it is — how to put it? — very tenuous, very subtle, as there are none of those intense vital vibrations, one can easily glide within it and climb back to the psychic origin of the music. It has that effect upon you, it is a kind of ecstatic trance, as from an intoxication. It makes you enter a little into trance. Then if you listen well and let yourself go, you move on and glide, glide into a psychic consciousness. But if you remain only in the external consciousness, the music is so tenuous that there is no response from the vital, it leaves you altogether flat. Sometimes, there was a vital force, then it became quite good…. I myself like this music very much, this kind of theme developing into a play. The theme is essentially very musical: and then it is developed with variations, innumerable variations, and it is always the same theme which is developed in one way or another.

In Europe there were musicians who were truly musicians and they too had the thing: Bach had it, he used to do the same sort of thing, Mozart had it, his music was purely musical, he had no intention of expressing any other thing, it was music for music’s sake. But this manner of taking a certain number of notes in a certain relation (they are like almost infinite variations), personally I find it wonderful to put you in repose, and you enter deep within yourself. And then, if you are ready, it gives you the psychic consciousness: something that makes you withdraw from the external consciousness, which makes you enter elsewhere, enter within.

In what form does music come to the great composers? That is, is it only the melody that comes or is it what we hear?

But that depends upon the musician. This is just what I was saying. For example, here in India, the science of harmony does not exist much, so the thing is translated by melody. As soon as the vital intervenes, there comes a kind of harmonic complexity in the music. That gives it a richness, a plenitude which it did not have.

But is it the melody that comes?

No, it is the music, and music is not necessarily melody. It is a relation of sounds which is not necessarily melodic. Melody is a part of this relation of sounds.

27 May 1953

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Suffering — how does it help artistic creation?

How does it help? That depends on people. Some people are very powerfully helped by it. I consider that man [the composer Hector Berlioz] one of the purest expressions of music. It is almost… I could say that he is an incarnation of music, of the spirit of music. Unfortunately his body was a little frail; that is, he did not have that solid base which yoga gives, for instance. So this shook him up too much, and made him too emotional, nervous, agitated, emotive. You see, it was a serious weakness. But from the point of view of creation, I have always felt — and the other day it was very strong — that truly he was in contact with the spirit of music, you know, the very meaning of music, and that this entered into him with such a force that it shook him up: but truly, truly he was like an incarnation of music.

The notion that it was suffering that made him create is purely human; it is not true. What, on the contrary, is very remarkable is — to turn the thing around — that there was no physical pain which was not instantaneously translated into music in him; that is, the spirit of music was much stronger than human pain, and each blow which he received from life — and as he was indeed too sensitive to have the power of resisting, he was shaken — all the same, instantly, it was translated into music. It is something very rare.

People — all creators — usually require a little… how shall I put it?… time and quietness to be able to begin creating again, while with him it was spontaneous. The painful blow brought musical expression instantaneously. Truly for him his whole life began with music, finished with music. It was music and it was a… he had such a sincerity and such an exclusive intensity in his attachment to music that I feel that the spirit of music expressed itself through him. Perhaps what he has written is not the most beautiful music, because of that kind of weakness of what we call the “ādhāra” here. He was… his physical make-up was a little too weak. But from the point of view of music, it is very beautiful, very beautiful. (Silence) And even with his strength he had a very great simplicity. There is a kind of limpidity of line in what he has written, with a very great technical knowledge, of course. His power of orchestration was very, very remarkable. When one can orchestrate something for six hundred performers, it means a science as complicated as the most complicated mathematics. And in fact they come very close.

20 October 1954

*

 

Is sound particular only to the physical world or is there sound in the other domains also?

There is sound there also.

In the same way as here?

There certainly is a sound in all the manifested worlds, and when one has the appropriate organs one hears it.

There are sounds which belong to the highest regions, and in fact, the sound we have here gives the feeling of a noise in comparison with that sound.

For example, there are regions harmonious and musical in which one hears something which is the origin of the music we have here — but the sounds of material, physical music seem absolutely barbaric in comparison with that music! When one has heard that, even the most perfect instrument is inadequate. All constructed instruments, among which the violin certainly has the purest sound, are very much inferior in their expression to the music of this world of harmonies.

The human voice when absolutely pure is of all instruments the one which expresses it best; but it is still… it has a sound which seems so harsh, so gross compared with that. When one has been in that region, one truly knows what music is. And it has so perfect a clarity that at the same time as the sound one has the full understanding of what is said. That is, one has the principle of the idea, without words, simply with the sound and all the inflexions of the… one can’t call it sensations, nor feelings… what seems to be closest would be some kind of soul-states or states of consciousness. All these inflexions are clearly perceptible through the nuances of the sound. And certainly, those who were great musicians, geniuses from the point of view of music, must have been more or less consciously in contact with that. The physical world as we have it today is an absolutely gross world; it looks like a caricature.

26 October 1955

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