I remember listening to the gentle and spellbinding sound of the sitar almost anywhere in India, its music suitable to all situations and moments of the day. The sitar, a plucked string instrument, originated in the Middle Ages from the Indian subcontinent, where it has been flourishing ever since.

In the most poignant memory that regularly resurfaces in my mind, the music from the sitar filled the air of Varanasi (Benares), by the banks of the Gange River, where the ashes of the deceased are laid so that their souls can be transported to heaven and liberated from the cycle of death and rebirth. It was a chilly winter morning, the little boat I sat in slowly moved on the still waters and fog shrouded the river, while the faraway sun was timidly rising. The banks were busy with people doing ablutions, chanting, and giving a last farewell to their dear ones.

I connected with Anil Singh – an accomplished sitar performer – after a recital that took place at the Hong Kong City Hall Theatre. His recital had been for me a meditative and highly calming, mesmerising experience, which rekindled reminiscences of the time spent in India.

Anil mainly plays Hindustani classical music from northern India, and the first half of the recital focused on Indian classical ragas – that we could describe as ‘melody forms’–  improvised by Anil according to his feelings, mood, and vibes.  The most astonishing thing about the ragas is that they can be improvised and still sound perfect as if the player had practiced the same tunes for hours and hours.

I was curious to understand more about his music and his instrument, and Anil was so kind to meet for an interview.

Anil, tell us something about you. When and how did your passion for the sitar develop?

I started playing music when I was around 7 years of age because music was running in my family. My sister was a very talented sitar player and I loved sitting next to her and listening to her play. When she passed away at a young age, my mother insisted that I should follow in her footsteps and encouraged me that no matter what happened in life, I should never give up the sitar. She sent me to a sarod Maestro ( the sarod is a stringed instrument, used in Hindustani music on the Indian subcontinent -EN), my guru Rajesh Chandra Moitra, for disciplined musical training. It was a tough yet wonderful time - I would wake up before dawn and slowly ride my cycle to the temple for practice. I was also admitted to Banaras Hindu University, where I studied sitar in a proper academic setting. Now I am very gratified that I have the sitar as my life partner. Music is, in my opinion, the best form of yoga, and through music, I can touch God’s feet.

Improvisation is at the basis of playing sitar, and ragas are the results of this ‘flow’. What is your definition of ‘raga’?

For me, raga is an ancient melodic form meant to help reach enlightenment. That's why sometimes when I play, I don't feel I am playing and when I close my eyes, I see God and it's as if he is playing for me. It is a very personal experience that I can't easily put into words - sometimes I can achieve that state of mind, and sometimes not.

What is the main difference between the different time-of-the-day and time-of-the-seasons ragas?

The main difference between Indian classical music and Western classical music is in the application of swaras (musical notes) or their combinations. In ancient India, musicologists used to meditate on the sound and they associated it with the inspiration coming from nature to create the Ragas. It is said that the very origins of the seven notes themselves are from Mother Nature. For example, the note 'Pa' is very much like the sound from the loyal  (Indian cuckoo - EN).

All those masters connected the ragas or raginis to a specific time according to their observation and contemplation on the subtle changes in the human body and mind during the daily cycle, which evokes and stimulates different moods and emotions. There is a lot of theory in this, and profound valuable wisdom.

We could say that a raga is a combination of notes (in Hindi called Sa, Re, Ga, Ma, Pa, Dha, Ni), in a typical ascending and descending order. The time of performing any raga depends on the vadi (dominant note) and samavadi (subdominant note). Additionally, it also depends on the consonance and application of shuddha swara (natural note), komal swara (flat note), and tivra swara (sharp note). However, the system is quite complex, with many alternative ways to apply the notes and the relationship between time.

Certain ragas are associated with specific seasons. For example, Raga Basant is said to evoke the beauty of the arrival of spring by applying both the above-mentioned tivra and shuddha variants, making you feel like the flowers are blooming.

What would you suggest to someone interested in learning to play the sitar? Is it an instrument that can be picked up at any stage of life, or is it essential to start learning it when young?

With passion and determination, one can learn music at any age. However, for most instruments, including the Sitar, one should start at a young age, say 8 or 9. This allows more time to practice and develop proficiency.

The Sitar is considered a particularly challenging instrument to learn. This is because the fingers will experience significant pain while pressing down on the strings. But with willpower and consistent practice, this can be overcome over time. Maintaining a positive mindset and practicing regularly, allows everyone to appreciate the richness and beauty of playing the Sitar.

You have been living in Hong Kong for quite some time. What is your experience of teaching and playing this meditative music in such a fast-paced and bustling city?

While Hong Kong is a fast-paced city, I have been able to teach and perform my meditative music even there. However, only a few students have the patience to continue with their studies. It takes about one year to be able to play something simple, but constant practice is necessary, even 4-6 hours a day.

I am grateful to Professor Chuen-Fung Wong for providing me with opportunities to share my music with the Hong Kong audience in its pure form. I have a lot of memories to share about my performances in Hong Kong.

When we think of sitar, one big name comes to mind: Ravi Shankar, who in the 60s toured Europe and the Americas playing Indian classical music, increasing its popularity abroad. He also engaged in Western music by writing compositions for sitar and orchestra. His daughter, Anoushka Shankar, followed in his footsteps. What is your view on commingling traditional classical Indian and Western music?

The feeling is different, but I agree with this mix of old and new if the musicians are sincere in their music. Ravi Shankar belonged to the Maihar Gharana, and fortunately, I am also a part of the same Gharana, being the 4th generation.

(The Maihar Gharana is a style of Indian classical music originating in the northern parts of the Indian subcontinent. The school was formed by Baba Allauddin Khan (one of the most notable music teachers of the 20th century in Indian Classical Music) in the state of Maihar. Every region has its own characteristic 'music Gharana'. - EN)

Do you have any upcoming projects or wishes regarding your music?

I would like to create a meditative experience for my listeners, guiding them on a spiritual journey through my Sitar. It would be wonderful to have a community of listeners interested in sharing this experience. After all, Indian classical music is one of the greatest forms of meditation.

The seven notes subtly resonate with our inner chakras. It is a way of tuning our souls to the divine. I would also like to collaborate with different art forms when the right opportunity arises.

After learning more about the Sitar and the Ragas, I feel ready to attend the next Sitar recital. I will close my eyes, open my heart, and continue my travels around India even after the music stops playing.

In the cover: Anil Singh