TheRudraVeena,accordingtomythology,wascreatedbyLordShiva,whilehewascontemplating

ontheperfectbeautyofhiswifeParvati.Theoldestpreserveportrayalintemplearchitecturefrom
around the 5th century A.D. shows a simple, one stringed instrument consisting of a bamboo cane
withagourdasresonancebody.
Her association with Lord Shiva (one of his alternative names is Rudra) made the Veena a popular
instrumentoftheYogisundAscetics.ForthemplayingoftheVeenaunitedritualandmeditation.Itis
said, that the music of the Veena possesses the power to purify the mind of the musician and the
listenersalikeandthoseupliftthereconsciousnessintothetranscendentspiritualplans.
Around the 16th century the Rudra Veena had developed her actual shape with frets and two
symmetric resonance bodies. At this time it evolved into one of the most important melody
instrumentsofthearistocraticcourtmusicandbecamelaterthemainsoloinstrumentoftheprimary
vocalDhrupadmusicstyle.WiththeriseoftheKhyal,themodernclassicalmusicstyleofNorthIndia,
and the therewith aligned evolution of newer instruments like Sitar and Sarod the Veena lost its
importancefromthe19thcenturyonwards.
EventheVeenaisstillworshipedasmotherofallIndianstringinstruments,onecanfindhertoday
only rarely on the musical platforms. With her extreme subtle playing techniques and aesthetic
whichrequirelifelongdevotionandselfdisciplineformasteringtheinstrument,shehasbecomean
ambassadorofthepasttimes.Still,asalternativestotherestlesstimesentimentofthepresentage,
the Rudra Veena and her music are nowadays rediscovered by a growing international audience.
Independently from the great history of the instrument also todays listeners enjoy the unique
experiencetheVeenahastorevealanunparalleledmusicaljourneybetweensilenceandecstasy.

The Dhrupad, which is played on the Rudra Veena, is North Indias oldest still practiced classical
music tradition. From its origin in the chants of Vedic hymns, through devotional temple songs, it
evolved under the patronage of Moslem and Hindu courts into an art form, with its own complex
aestheticandgrammar.
As general accepted in Indian music philosophy, also in the Dhrupad tradition the human voice is
acknowledged as the most original and important instrument. The aesthetic of the instrumental
music is those closely oriented on the vocal music form. The resonance and overtone rich sound
makes the Rudra Veena an ideal instrument for the interpretation of a Raga in the Dhrupad style,
whichisprimarilycharacterizedbyemphasizingthemicrotonalflowofsoundandmelody.
Ragas are melody models, which are time and again newly improvised within there outline rules.
Each of them possess its very own recurrent mood and figure. The Raga performance on the
RudraVeenafollowsastructurewhichdevelopedoverthecenturies.Intheintroducingpart(Alap)
thecharacteristicnotesandmelodyphrasesaregraduallypresentedinslowtempo.Inthefollowing
sections (Jor, Jhala) the musician plays with increasing tempo more complex melodic structures
which have a perceptible underlying rhythmical pulsation. In the concluding composition (Bandish,
Gat), which is set in a rhythmical time cycle (Tala), the Veena is accompanied by a percussion
instrument, the Pakhawaj. Taking turns with virtuoso soli the musicians create now a lively dialog
whileimprovisingmelodyandrhythm.
TheTanpura,aluteinstrumentconstantlyplayedinthebackground,createswithherbourdonover
tonerichsoundcarpetonwhichtheRagaimprovisationoftheVeenacanunfold.

CarstenWickewasborninGermany,wherehelearnedViolinandVocalMusicasachild.HestudiedNorth
IndianClassicalMusicwithseveralMasterMusicianssincethe1990's.
HisjourneyintoIndianMusicstartedwhilelearningIndiaspopularpercussioninstrumentTablawiththemost
renowned Tabla Maestro Pandit Anindo Chatterjee in Kolkata. Being fascinated by the old classical Dhrupad
Music Carsten meets Indias legendary Rudra Veena Master Ustad Asad Ali Khan, whose musical family
traditiongoesbackovermanygenerations,includingoutstandingBeenkars(Veenaplayers)likeSadiqAliKhan,
MusharrafKhanandRajabAliKhan.UstadAsadAliKhanacceptedhimasoneofhisfewVeenadisciplesand
taught him traditional Rudra Veena in Khandarbani Style. Alongside Carsten also studied Dagarbani Dhrupad
withAshishSankrityayan,thecurrentdirectorandteacherattheDhrupadKendrainBhopal.
While accompanyinghis teachers in IndiaandEurope, Carsten hasbeen working as tour manager, organizer
andteacher.HegraduatedfromGermanUniversityHildesheimwithadegreeonCulturalScience,specializing
in his theses on Veena and Sitar. As filmmaker, author and media producer he documents Indian music
traditions,particulartheoldclassicalDhrupadMusic.
CarstenWickeistodayoneofthefewinternationalRudraVeenaperformers.HisRagapresentationunitesthe
meditative depth in theAlap (introduction) the unparalleled fortitude of the DagarbaniDhrupad with the
dynamic interpretation of the faster performance stages (Jor, Jhala) a distinguished characteristic of the
Khandarbanistyle.Combiningsubtlemelodicvariationswithcomplexrhythmicalfingerstroketechniqueshis
Veenaplayingcreatesauniquelisteningexperience.
Being based in Kolkata, Carsten also develops and manufactures new Veenas in collaboration with local
craftsmen,nottheleasttocounterthecurrentshortageofinstrumentmakersforRudraVeenasinIndia.
Contact:
CarstenWicke
27E/15BaburamGhoshRoad
Kolkata700040
India

mobile:+91(0)9051612599
phone/fax:+49(0)32121200153
email:wicke.carsten@gmail.com
web:rudravina.net
youtube.com/user/CarstenWicke
facebook.com/carsten.wicke.1