Indian Classic Music Concert: A Rudra Veena & Pakhawaz recital

Nada Samudra “A Meditative Journey Through the Timeless Ocean of Sound”

A touch of sound, a wave of rhythm;
the Rudra Veena and the Pakhawaz meet,
weaving a dialogue between silence and the breath of the world.

This musical journey is not mere listening.
It is a meditation that becomes light,
a secret gateway opening into the inner space,
where the unspoken and the hidden quietly emerge.

The music—at times lyrical and fragile, at times deep and resonant—
does not simply entertain;
it invites, it calls,
to a meditative voyage across the waves of sound and soul.

And while the seasoned listener may sink even deeper,
even one who encounters this sound for the first time
feels the healing, the beauty, the secret stillness
that the music bestows.

We invite you on Saturday 18 October at 19:00-21:00 to a concert of classical Indian music: A Rudra Veena & Pakhawaz recital with Nektarios Mitritsakis (Rudra Veena) and Nikhil Ghorpadkar (Pakhawaz)!

An evening dedicated to the most ancient form of Indian classical music, Dhrupad – where sound itself becomes yoga, known as Nada Yoga.

At the heart of the experience are two sacred instruments: the Rudra Veena, the primordial stringed instrument and ancestor of the Sitar, and the Pakhawaz, the forerunner of the Tabla and pulse of rhythm.

Through the waves of sound (Raga) and the pulsations of rhythm (Tala), unfolds a musical journey beyond entertainment – a meditative, deeply healing experience that touches the soul and brings serenity to the mind.

This music requires no prior knowledge, only an open mind and heart. Its benefits can be felt as a gentle awakening of the body’s energy centers, as a subtle therapy flowing within, leading us into inner stillness.

Here, sound is not merely melody; it is a teacher, a gateway to universal laws, a path of spiritual unfolding.

Participation may be seated, lying down, or expressed through free movement, wherever rhythm invites the body to flow.

Musical Instruments:

Rudra Veena

The Rudra Veena is one of the earliest instruments introduced into Indian classical music. The name “Rudra” is an epithet of the god Shiva, and thus Rudra Veena means “the Veena beloved of Shiva.”

According to Indian mythology, Shiva created this stringed instrument, inspired by the beauty of his consort, Parvati. Linguistically, Rudra is also thought to derive from the Persian word rud, meaning “string.” Ravana, the mythical king and musician, was famed as a virtuoso of the Rudra Veena and is said to have used it in his worship of Shiva.

The Rudra Veena symbolizes Indian ethos throughout the subcontinent and is regarded as the only acoustic stringed instrument capable of producing the sound of Om, the ultimate reality. It is therefore called “the mother of all stringed instruments.”

Today, this ancient instrument is rarely played. Its deep connection with Shiva made it highly valued among yogis and ascetics, who approach it as both ritual and meditation. Its sound is believed to purify and calm the mind, elevating the consciousness of both the musician and the listener.

Despite its historical significance, the Rudra Veena is now on the verge of extinction, with only a few practitioners remaining. Mastery requires lifelong dedication and discipline. Yet, in recent years, renewed interest has emerged from an international audience seeking profound spiritual experiences.

Sound therapy and modern yoga practices have also embraced the Rudra Veena for stress and anxiety relief. Its deep, resonant, and penetrating tone makes it the principal instrument of Dhrupad music and the Alap.

Pakhawaz

The Pakhawaz is the traditional percussion instrument most commonly associated with the Dhrupad style of Indian classical music, though it is occasionally used to accompany other musical and dance performances. Its tone is deep, gentle, and rich in harmonics.

Influenced by Persian culture after the 15th century, it was named Pakhawaz. Some scholars trace the name to the combination of the words pakshe vadya, while others derive it from the Persian pakh awaz, meaning “soft sound.”

The Pakhawaz became the primary percussion instrument in northern India, while the mridangam assumed that role in the southern system. Although the term mridang was historically used for this drum in both texts and poetry, today the name Pakhawaz is standard.

It remains the principal percussion accompanying Dhrupad music, both vocal and orchestral, alongside instruments such as the Veena, Rabab, Sursringar, and Surbahar.

Biography:

Nektarios Mitritsakis

He was born and raised in Chania, Crete. Through his connection with nature and his close relationship with music, he expressed every inner restlessness and search of the soul.

At the age of 25, he decided to dedicate himself seriously to music. After exploring rock, jazz, blues, and the traditional music of Crete, in 1995 he attended a concert of Indian classical music that stirred a profound calling within him, leading him to travel to India and return with a Sitar.

He began his first lessons with Ross Daly and explored various instruments including the Sitar, Saz, Lyra, and Lute. From 1998, for approximately 12 years, he spent extended periods in Varanasi, North India, studying Sitar and Surbahar (bass Sitar) under Rabindra Narayan Goswami.

There, he had the opportunity to meet distinguished musicians of the tradition, participate in festivals such as the Dhrupad Mela in Varanasi, and deepen his apprenticeship under the guidance of his guru, following the traditional Guru-Shishya path. Simultaneously, he earned a Sitar diploma from the Prayag Sangit Samiti in Allahabad.

Seeking balance of body and spirit, he studied Vedic astrology, practiced Ashtanga Yoga, and adopted Vipassana meditation as part of his daily life. Guided from the beginning by the Dhrupad tradition, he encountered the Rudra Veena, studying and deepening his practice with Bahauddin Dagar, a pursuit he continues to this day.

Continuing to travel to India from time to time, he now resides in Crete, where he shares his knowledge and experience by teaching yoga and music. Through his concerts, listeners can experience the journey of the soul through sound, feeling the serenity and beauty music brings, becoming a close companion on the spiritual path.

Nikhil Ghorpadkar

Nikhil Ghorpadkar is a distinguished Pakhawaz musician from Pune, India. Over the past decade, he has captivated audiences across the country and performed in numerous European countries. He belongs to a brilliant, unbroken lineage of Pakhawaz masters. His musical heritage traces back to his late ancestor Pandit Shankar Bhaiyya (Ghorpadkar) and extends to the world-renowned Pandit Vasantarao Ghorpadkar. Today, Nikhil effectively represents the tradition of his forefathers within the Panse Gharana music lineage.

His father’s maternal side is also connected to prominent musicians who served as court musicians for the powerful Peshwas. In addition, Nikhil has broadened his musical horizons through the Kudau Singh Gharana tradition, studying under the late Ramakant Pathak from Lucknow.

Nikhil is an artist affiliated with the Indian Council for Cultural Relations (ICCR) and a performer for All India Radio. He teaches at Lalit Kala Kendra in Pune and at the Bharati Vidyapeeth School of Performing Arts, while successfully conducting workshops and masterclasses at schools, universities, and institutions such as the School of Fine and Performing Arts, the Film and Television Institute of India (FTII), and the Department of Media & Communication.

He has performed extensively both in India and abroad, mastering the instrument as both a soloist and accompanist. Moreover, he has collaborated with musicians and artists internationally on the experimental music scene.

Sound as Healing – The Infinite Path of Yoga and Dhrupad

Having become familiar with and practiced the various forms of “cleansing” in yoga, we experience a special sense of well-being in both body and mind.
The criteria for a deep cleansing therapy in our being may be very high, requiring experience and application over time. Yet, even through our very first steps—however small—on the infinite path of yoga, we begin to sense and feel their benefits. Often, they inspire us to deepen our practice, while also leading us into sensitivity and openness of mind, allowing us to connect with more subtle aspects of yoga, such as sound.

The postures of yoga, known as Asanas, help to unblock the body, offering flexibility and a comfortable position from which we can explore daily life and learn from it. A strong and flexible body could be symbolized by a turtle: it carries a solid shell yet can withdraw into itself for deep introspection. Similarly, in the practice of Asana we encounter Kurmasana, the turtle pose, which symbolizes a healthy body through the activation of the 72,000 nadis (energy channels) it is said to open.

Another well-known concept in yoga is Kundalini, often symbolized as a serpent rising within us. This is also reflected in certain Asanas, such as Bhujangasana, the cobra pose.

If we take, for example, the sense of detoxification from Kurmasana and the uplifting sense of Bhujangasana, we can see them as representations of Apana and Prana—detoxification and vital energy.

Through a body walking this path, one may come into contact with subtler practices, such as the energetic postures known as Mudras, or with the art of expanding vital energy, Pranayama. With a clear mind and body, the channels remain open and pure, allowing one to experience the energy often called Kundalini Shakti.
(Of course, this text could be expanded to include many more practices such as kriyas, shatkarmas, etc., but here we offer only a general overview.)

Such energy, when guided through sound into the energy centers of the body known as Chakras, brings a unique form of joy and ecstasy to our being. Thus, sound has often been regarded as one of the highest forms of healing—something found everywhere on earth, from folk music in daily life to spiritual music. One might say that music and rhythm express every state of human existence.

The musical expression of Dhrupad is considered one of the most ancient forms of sound, characterized by its simplicity, purity, and essential approach.
The name Dhrupad comes from the Sanskrit words Dhruva (immovable, permanent, steady) and Pada (verse, word, poem). The combined term, Dhruvapada, means a “fixed” or “immovable” verse or song, reflecting its structured and formal nature, with roots in the ancient Vedic traditions.

The seven notes, which symbolize the seven main chakras, in the Dhrupad approach are further divided into numerous microtones, offering deep healing to the being. A Raga, which employs a group of these sounds in specific combinations, is performed at certain times of day or seasons of the year, providing the most suitable healing effect.

In combination with Ayurveda, for instance, when the earth element (Kapha) is predominant, the third note—symbolizing fire and energy—is emphasized. This is recommended during afternoon or early dawn, which belong to the earth period (Kapha). On the other hand, in late morning or late evening, when the fire element (Pitta) is stronger, the same note is rendered softer, so that it may be balanced. In this way, through the notes and the five elements (earth, water, fire, air, ether), and together with rhythm, a therapeutic effect is created: of upliftment, serenity, energy, or calmness.

The states expressed through sound are often described as:

• Shringara – love, romance
• Hasya – comic, lighthearted
• Karuna – melancholic, passive, lonely
• Raudra – angry, furious
• Veera – heroic, courageous, majestic
• Bhayanaka – fearful
• Vibhatsa – repulsive
• Adbuta – wonder, amazement
• Shanta – peaceful, calm, relaxed

The three most closely related to musical expression are Shanta, Karuna, and Shringara.

Dhrupad is a subtle approach to sound, bringing us into contact with, and preparing us for, the four stages of Nada Yoga:

1. Para Nada – beyond vibration
2. Pashyanti – mental sound
3. Madhyama – inner sound
4. Vaikhari – articulated sound (produced by striking or speaking)

It has been observed that through the “naked” and pure sound—whether of the human voice or a musical instrument—very subtle vibrations can be expressed, offering deep healing to our being.

Music is considered one of the most unique paths in yoga, one that can be equally enjoyed and beneficial both for an experienced practitioner and for someone approaching yoga practice for the very first time.